Basic Judo

E. G. Bartlett
ARCO PUBLISHING COMPANY, INC.
NEW YORK
Publisbed 1975 by NCO Publishing Company, Inc.
219 Park Avenue South, New York, N.Y. 10003
Copyright 1974 by E. O. Bartlett
All rights reserved
Library of Congress Catalog Card Number 75-2707
ISBN 0-668-03790-3
Printed in the United States of America
Contents
Chaplet
INTRODUCTION
I Basic Principles
2 Breakfalls
3 The Gokyo ,
4 Groundwork : Holdings
5 Groundwork: Armlocks,
6 Groundwork: Strangleholds
7 Nage No Kata ,
8 Katame No Kata '
9 Kime No Kala,
INDEX TO MOVEMENTS
Page
7
10
15
18
48
54
56
60
76
87
III
Introduction
Judo was fi rst introduced into Britain about
tbe turn of the century, when Mr Barton Wright
brought over a Japanese expert, Yukio Tani ,
who toured the music-halls, taking on all comers.
He was followed by Mr S. K. Uyenishi, who
made a similar tour and slarted teaching judo
to the Army at Aldershot. Various Japanese
masters followed, including Mr G. Koizumi who
founded the Budokwai, one of the most famous
clubs in Britain, in 1918. Mr Yukio Tani was
the instructor there for many years.
Before the last war, however, judo was com-
paratively little known. There were approxi-
matel y forty clubs in Britain, many connected
with the universities, and the police had some
trruning in the art. Since 1946, however, interest
in judo has grown apace and there are now at
least a thousand clubs or school s, and probably
well over a bundred thousand acti ve students,
in Britain alone. A similar growth of int erest
has been seen in olher parts of the world,
especially on tbe continent and in the United
States. Judo was included as a sport in the 1972
Olympics as well as in the 1964 games.
There is a tendency in the west to regard judo
purely as a compelilive sport. This is unfortu-
nate, as it tends to suggest that its appeal is
limited to those who feel themselves young
enough to engage in competition. Tn fact, judo
is much more than this. Tt is an art, a science,
a philosophy, even a way of life. It can be prac-
tised as a means of keeping fit, or a method of
self-defence, or simply out of interest, even by
those who have no int ent ion of entering cham-
pionships. This book looks at all these aspects,
as it is felt that the art, science and philosophy
of judo will appeal even to those who consider
that their compet iti ve days are over.
To understand these deeper aspects of judo,
it is necessary to look at its history, wbich is
bound up with the history of the Japanese
people. There are roughly five periods to be
considered.
The Ancient period laSled from 1500 Be to
AD 720. During thi s period, the Japanese nation
came into being. There are legends of the
descent of the islands and of the emperors from
gods, which those who are int erested in a deeper
study can find in any history of Japan. It was
during this period that the first emperor sub-
jugated the hostile tribes and established the
Japanese Empire. There was contact with the
mainland, and aspects of Cbinese and Korean
culture influenced the Japanese. Confucianism
came to Japan about AD 284.
The Japanese have always been adept at copy-
ing and adapting ditTerent cultures to their own
ends, and there is some doubt as to whether judo
did actually originate in Japan or in China. It is
certainly true, however, that judo owes it s more
recent development to tbe Japanese.
In the Ancient period, the figbting arts
developed as part of the essential way of life,
and in addition to learning to fight with weapons,
war riors were taught methods of unarmed com-
bat. There were numerous schools and methods
known by many different names, such as
Yawara, Taijutsu, Kempa, Shuhaku and the like.
The term 'ju-jitsu' became a generic name for
all these schools, 'ju' meaning 'gentle' or 'supple'
and ' jitsu', 'art' or 'practice'. The methods of
fighting without weapons in this early period
probably have very little in common with
modern judo
1
being more akin to sumo wrestling
as far as can be ascertained. The first book ever
published in Japan, the Nihon Shoki or Chronicle
7
INTRODUCTION
of Japan, contains a chapier on wrestling entitled
Chikara Kurabe, which means 'superior strength'.
The mere title suggests tbat the techniques were
unlike modern judo or even ju-jitsu of a later
period, since ju-jitsu and judo enable people of
inferior strength to defeat those who are stronger
than themselves.
There is record of a tournament held in
230 BC of Chikara Kurabe, but it was almost
certainly more like sumo wrestling than judo.
From the point of view of the judo st udent,
the next two periods in Japanese history, the
Nara period (AD 720 to 793) and the Heian
period (AD 794 to 1140) can be grouped together.
It was during these periods that the Japanese
capital was establisbed, first at Nara and then
at Heian; Buddhism and written language came
to Japan, and the Fujiwara and later the samurai
clans took over administrative power. Japanese
wrestling was invented in this period, and Sukone
Nomi compiled the system known as 'sumo'
which is now very much a national sport in
Japan. This is the form of wrestling in which two
big men, trained from birth for the r6le, try to
push each other out of the ring.
The wrestling techniques of this period were
very wild and rough. There were kicks and
chops sllch as we QOW associate with karate,
and contests frequently ended in death. Some of
the sumo throwing techniques do, however, bear
a resemblance to judo throws.
The next period, known as Yoroi Kumiuchi
No Jidai, is a most important one since it saw
the emergence of the samurai , or warrior class.
It was a feudal period in which from time to
time different families would corne to the fore,
having deposed their rivals in the seats of power.
It lasted from AD 1141 to 1526. The samurai
at their best were knights with a code of honour
and etbics comparable to King Arthur's Knighis
of the Round Table. At their worst , they were
wandering thugs whose swords were for hire.
They studied the philosophy of life as well as
the martial arts and tbe influence of their native
religions, Shintoism and Buddhism, can be seen
in their attitudes. Their main weapons were, of
course, the sword and spear, but they also
learned to fight with bow and arrow and with
helmet. Before a battle between tbe clans, it was
the custom for the champions on either side to
8
fight a duel, the result of whicb might be
accepted as decisive and the battle called off.
Armour was improved in this period, and as
contestants had to aim for weak and exposed
points, the fighting became more skilful. But
tbe wrestling techniques remained much as they
had been in the previous period.
Throughout this feudal period there was rigid
class distinction between the warrior and tbe
common man. Commoners could not bear
weapons, and so for their self-defence tbey had
to learn to fight bare-handed. This contributed
to the development of techniques.
In the next period, the Tokugawa period from
1602 to 1868, outside influences were suppressed
in Japan and when Hideyoshi became regent , be
brought peace to the country and the armies of
samurai became unnecessary.
It was during this period that the first school
of ju-jitsu appeared. It was founded by Hisamori
Takeuchi , who based hi s techniques on those of
Yoroi Kumiuchi. Sumo and ju-jitsu nOw became
definitely independent studies. A professional
SU111 0 association was set up and many judo
schools apart from Takeuchi's were founded.
Towards the end of thi s period there are said to
have been over three hundred different schools
and theories of ju-jitsu. The differences between
the schools were often quite minor ones. A
teacher would become known as a specialist in
certain techniques and would build his system
around them.
There was a rigid code of conduct and dis-
cipline in these schools. Often a pupil would
have to enter a master's home as a servant, and
prove his wortbiness by se rving for a long period
before the master would consent to teacb him.
Ju-jitsu was taught under vows of secrecy and
pupils had to swear never to misuse their art.
The last peri od to consider is tbe Meiji period,
wbich extends from 1868 to the present day. The
Emperor Meiji regained sovereignty from the
Tokugawa clan in 1868 and a distinct decline in
tbe martial a rt s followed. The wearing of swords
was aboli shed by decree in 1871. and a policy of
westernisation began in Japan.
Whilst. at the beginning of tltis period, ju-jitsu
schools were st ill flouri shing, these too soon
began to die out and the survival of the art is
largely due to Professor Jigoro Kana. Born in
1860, he became interested in ju-jitsu because he
was of small stature and had learnt that the
techniques enabled such as he to hold their own
with bigger men. He studi ed under various ju-
jitsu masters and selected the best techniques
from them all to create his own system, which
he call ed 'judo'. He says that 'the old style was
not developed for physical education or moral
and intellectual training. The latter were not hing
but the incidental blessings of the former, which
was exclusively devised for winning', He found
much to disapprove of in the old ju-jitsu schools.
Dangerous techniques were pract ised, which
sometimes resulted in injury. Supervision of
schools had become poor, and senior pupils
would bully or pick quarrels with less well
advanced pupils. Some masters would present
public exhibitions for money. This kind of degra-
dation of the ancient martial arts was repugnant
to Dr Kana, and it was largely for this reason
that he found a new name for his system. He
called it judo, the name by which it is now
generally known througllOut the world, and the
spread of the art has largely been due to Kana
and hi s pupils.
Kana's first praclice hall was an old Buddhist
temple. He founded the school in 1882, with a
mat area twelve feet by eighteen feet, wh ich is
smaller than some provincial British clubs would
consider adequate today. The two principles
which became the basis of hi s system were ' maxi-
mum efficiency-minimum effort', and 'mutual
aid', and these express the basis of his thought.
In terms of modern mechanics. you must get a
mechanical advantage from your techniques. If
you overcome purely by strength, then you will
not be able to overcome anyone whose strength
is superior to your own. You must win with the
minimum of effort. And at the basis of all your
INTRODUCTION
practice and effort must be the purpose of help-
ing your partner in his studies.
Dr Kano died in 1938, after a visit to the
Uni ted States to discuss bringing the Olympic
Games to Japan. Not until twenty-six years later
did judo become one of the sports featured at
the games.
The nat ional body of the judo organisations
in Japan was the Butoku Kwai. founded in 1895.
It catered not only for judo. but for the other
martial arts such as kendo (sword fighting),
aikido, kyudo etc. It had a membership of over
three milli on. More recently, the lnternational
Butoku Kwai has been started by Kenshira
Abbe, who was one of the instructors in the
original organisation. and when the first inter-
national judo championship was held in Tokyo
in 1956 it attracted entries from twenty-one
countries.
There is no single national body in any coun-
try today. Tn Britain, there are three main
bodies: The British Judo Association, The
Amateur Judo Association. and the British Judo
Council. as well as minor organi sations and
independent teachers and schools. The European
countries and the United States also have a
number of nalional organisat ions. Some are
linked with the Butoku Kwai: ot hers are not.
The differences between teachers and schools is
largely one of emphasis. Standards are roughly
similar.
In this book, we shall study first the basic
principles and methods of fa ll ing: then the forty
basic throws of Dr Kana's system (The Gokyo);
then the basic groundwork movements, and
finally three of the katas. or formal demonstra-
tions of the art. The latter are essential to pre-
paration for the Black Belt examination.
9
CHAPTER ONE
Basic Principles
Judo is basically an art of self-defence wi thout
weapons, based on the old ju-jitsu techniques
but modified by Dr Kana to exclude the more
dangerous ones.
It is practised on a m a t ~ which takes some of
the shock out of falling. The Japanese mats are
made of rice straw, but substitutes sometimes
used in western countries may be made of wheat
straw, or rope, or of rubber. Usually these are
covered by a canvas sheet stretched tight.
Students wear a special suit, called a judogi,
which consists of a thick cotton jacket, trousers
that come to just below the knees, and a belt
or sash to wrap round the jacket and secure it,
since there are no buttons on allY garment to
injure the student or his partner. Suits are white,
and cleanliness of attire is demanded as a mark
of respect to one's teacher and opponents.
The belt, or sash, is approximately nine feet
long and coloured, the colour denoting the grade
of tbe wearer. Begi nners are distinguished by
a red belt and it is traditional to take special
care of them when practising since it is con-
sidered disgraceful to injure a beginner or any-
one of a lower gl ade than oneself. The st udent
stages are then: white belt (6th kyu), yellow belt
(5th kyu), orange belt (4th kyu), green belt (3rd
kyu), blue belt (2nd kyu), and brown belt (lst
kyu). Progress to this stage would demand about
two to three years' practice of several nights a
week. Grading test s consist in part of contest,
and in part of theor y examination. The grades
up to green belt do not depend on contest
results. though contests are included in the tests
to see how the student reacts under stress. Blue
and brown bell grades, however, do depend on
contest success. The general standard is to defeat
three of one's own grade in order to move up to
JO
the next , but considerable power of discretion is
given to the examiner.
After reaching the highest student grade, the
pupil is encouraged to go in for the black belt
of the master, a process which generally takes
as long again as moving up the kyu grades.
Brown belt is considered to be haJfway to black.
The black belt is worn by masters holding the
degree of first dan and above, up to fifth dan.
The higher the dan the higher the degree. Sixth,
seventh and eighth dans wear a red and white
belt. Ninth and tenth dans wear a red belt, thus
completing a full circle and coming back to the
beginner's colour. Few peopl e get that far, how-
ever, so there is no risk of confusion. Only seven
men, all Japanese, have ever been awarded tenth
dan and first dan is probably the limi t of most
European men's ambition. Only Dr Kana him-
self has ever held a grade higher than tenth dan.
He was twelfth, and held the title 'Shihan'. A
twelfth dan wears a white belt to i,ndicate that
he is above both 'kyu and dan grades, but it is
wider than that worn by 6th kyu.
The purpose of wearing clothes when practis-
ing judo is to simulate a real life situation. If
a man attacks you in the street, you will know
how to use holds on his jacket or trousers which
will be more effective than grasping bis wrist
or neck. Judo throws can, of course, be adapted
to an opponent who is stripped to the waist, but
in general it is assumed that an opponent will
be wearing normal dress.
HOLDS
The normal holds on the opponent are taken
in the following order. Stand facing him in an
upright posture. With the left hand, catch his
right sleeve just under the elbow from under-
neath , with the thumb outside and fingers in.
1
With the right hand, catch his left lapel, fingers
outside, thumb inside, just below his left collar
bone. He takes exactly the same holds on your
jacket. See Figure 1.
These holds can be varied, as we shall see when
studying the throws in Chapter 3, but the above
is the tradi tional starting point.
STANCE
The basic natural stance (shizen hontai) is as
follows: Stand upright with the hands banging
loosely by the sides and the feet about twelve
inches apart. Relax. See Figure 2.
From this position advance the right foot
about twelve inches in a natural movement for-
wards, and stand with the weight evenly dis-
tributed between the feet. This is known as the
right natural posture (migi shizentai). If, instead,
you advance the left foot, you will be taking up
the left natural posture (hidari shizentai).
Tbe other three postures are the basic defen-
sive posture (j igo hontai), the right defensive
posture (migi jigotai) and the left defensive pos-
ture (hidari jigotai). These are exactly the same
as the basic natural stances except that the
knees are slightly bent and the stomach is thrust
forwards and downwards at an angle of 45
degrees. The angle at which the knees are bent
should be 140 degrees.
Taking these defensive postures under attack
will often of themselves stop throws being exe-
cuted on you and will leave you ready to counter-
attack.
MOVEMENT
When moving about the mat, slide the feet,
keeping the sale of the foot as near the ground
as possible, brushing or 'scuffing' the mat with
it. If you lift your foot off the ground you are in
greater danger of becoming unbalanced.
Do not bring the feet close together, but try
to keep them the natural distance apart at all


times. Do not on any account cross the legs,
unless you are attempting a throwing technique
and the opponent is off balance.
Movements are generally made as follows:
first , move one foot say the right; now
bring the left nearly up to it , but not passing it ;
now move the right again; now bring the left
nearly up to it, without passing it. This form of
progression is known as 'tsugi asbi'.
To turn, spin on the heel or the ball of one
foot whilst taki ng the other round it with the
body in a small circl e. Avoid spreading the feet
100 widely when doing these turns.
Diagonal movements forwards or backwards
tend to be safer than ones directly forwards or
directly to either side.
Remember that the nat ural movement is
always part of the arc of a circle. Think in terms
of being at the centre of a ci rcl e yourself and
moving your opponent around the ci rcum-
ference. The applicat ion of this will be evident
in the throwing techniques described in Chapter
3.
BREAKING OF BALANCE
When a man stands upright and is in the basic
natural stance or in any of the stances described
above, he is on balance and relatively safe. In
order to throw him, or to apply any other tech-
niques successfully, you must first upset his
equilibrium.
11
2
BASIC PRINCIPLES
To do this you must get his centre of gravity
outside tne rectangle lhat you can imagine drawn
around his feet to enclose them. U you picture
this rectangle, you will see that the shortest
distance his centre of gravity could be moved
to effect thi s is directly forwards. You would
need to pull him by stepping back and using both
your hands, so that his stomach came roughly
in advance of his toes. Stepping towards him and
pushing wou ld again take his cent re of gravity
outside hi s heels and break his balance back-
wards.
Balance, of course, can be broken in any
direction. There are 360 degrees in the ci rcl e of
possibiliti es. but in judo we generally think of
eight possible direct ions: directly forwards,
directly backwards, to the left side, to the right
side, diagonall y backwards to the left, diagonally
backwards to lhe right , diagonally forwards to
the left side and diagonaUy forwards to the
right.
Consider the nature of your own balance.
When you stand upright in the natural stance
your centre of gravity is roughly at the level of
your stomach, and your weight acts downwards
at a point midway between your feet and mid-
way between your heels and toes. If, from this
position, you are slightly unbalanced forwards,
your greatest weakness is directly forwards , that
is at righ t angles to an imaginary line drawn
through your feet.
If you sland in the right natural posture, that
is wit h your right foot adva nced, then your
balance could be most easily broken diagonall y
to your left front , that is at right angles to the
imaginary line drawn through your feet. You
will see this if you stand a pair of compasses up
on your desk. They wi ll rail either directl y for-
wards or directly backwards. but always at right
angles to a line drawn through the two points of
support.
Breaking of balance is a vital aspect of judo.
It is k.nown as 'kuzushi' when speaking of the
man who is unbalanced by the movement , and
'tsukuri' when referring to the man who does
the unbalancing.
Again considering the nature of balance, you
will see why it is inadvisable to bring your feet
together. With such a stance your centre of
gravity has only to be moved a short distance
12
to either side to take it outside tbe edge of your
foot, and once this has been done you are off
balance in that direction.
The pull or push that breaks the opponent's
balance sbould always be slight, just enough
and no more. If you make it a big or violent , or
even a sudden action, you will warn him of your
intention and, if he is quick enough, he will
recover. The actual throwing action, once your
opponent has become unbalanced, is known as
'kake',
Although for the purpose of description we
separate the unbalancing Jrom the throwing
action, the two flow in a continuous action.
There is no break or pause. To successfully
throw the opponent, his balance must first be
broken and thi s can be done either by a gentl e
pull or push as described above, or it may arise
as a result of his own actions. When we speak
of pulling or pushing, the action must be made
with your whole body. Think of your arms as
ropes which join your body to his. To pull him,
you must first move away sufficientl y far for the
ropes to become taut, and then a l ittle fa rther to
start pulling. The arms are never stiff like rods.
U they are, you use only the power of your
arms, instead of the whole weight of your body.
THE PRI NCTPLE OF JU
This is the principle of gentleness. The basic
idea in judo is never to resist an opponent's
movements, but to yield so as to turn them to
his disadvantage. U, for example, he pushes you,
the natural reaction is to push back. Do thi s,
and the strongest or heaviest man will win. But
if, when he pushes, you yield to his push, moving
away from him, you draw him off balance in a
forwards direction by bringing his centre of
gravity in front of the line drawn through his
toes. You can then easily tbrow him with such
movements as 'uki otoshi', described in the chap-
ter on throws. Similarly, when he pulls, move
quickly towards him so tbat you are pushing
him.
COURTESIES
It is traditional in the judo world to show
courtesy to your instructor, to your partners,
and even to the place where you practice. This
is done by bowing. There are two ways, the
standing bow and the kneeling bow. Both have
the same purpose, to show respect, and it is a
3
matter of custom, varying from place to place,
as to which is used and when.
To make the standing sal utation, the partners
stand about six feet apart, heels together, hands
hanging naturally at si des, and bow simul -
taneously from the waist. The bow is very slight,
fifteen degrees from the vertical. The hands
slide down the sides of the legs and the fingers
are kept open. Ladies are permitted to let their
hands slide down the front of their thighs when
making this bow; men are not. See Figure 3.
For the kneeling salutation, partners kneel
facing each other at a distance of about six
feet , with the insteps close to the mat, and sit
back on their heels. Their hands at this point are
resting on their thighs. Together they bend for-
wards, placing the hands ftat on the ground
under their shoulders, with the fingers turned
slightl y inwards, and bend fo rwards from the
waist to take the back of the head as low as the
shoulders. The toes are together when making
this bow. See Figure 4.
Before making either of these salutations,
students should pause a moment and call to
mind the purpose of the bow. It is not to be
made casualJy, or without meaning. There must
be genuine respect behind it.
The times the bow is made are as follows:
when entering or leaving the hall of practice,
before and after practice by the class to the
instructor. before and after each individual
practice to the partner Or opponent, and to the
place where honoured guests are seated when
a display is being given for their entertainment.
Always it must be made gravely and with thought
of its purpose and meaning.
GEN"ERAL BEHAV1QUR
The highest standards of behaviour are ex-
pected of judo students. They must never misuse
their art. show off. or bully anyone inside or
outside the hall of practi ce. They must take
care not to injure lower grades wilen practising
with them. They must be scrupulously clean and
keep their finger and toe nail s short. Before
bowing, a judo student would adjust his jacket
and belt , so that he was neatly and properly
dressed, as a mark of respect to his partner.
The hall of practice is known as a 'dojo'.
Professor Kano' s dojo was originally a Buddhist
temple, and judo students still tend to regard
their dojos as near-sacred places. They are halls
for study, and a student should never talk loudly
or play around, or do anything that might dis-
tract or disturb those who have come there for
practice. Before entering, students should put
aside thoughts of rivalry or of malice towards
anyone there. Co-operation alld helpfulness must
he the ruling spi rit. so tbat all wlto come may
feel they are amongst friends whose purpose it
is to help them all the way to betterment. It is
true that contest forms part of training, and in
contest the greatest help and the greatest respect
you can show to your opponent is to do your
best to defeat him. But underlyi ng tilis wish to
defeat him at that moment, lies the long-term
aim of helping him to improve hi s art.
METHODS OF PRACTICE
There are four methods of practice:
I . Standing Movements. This is the way in which
throws are first learnt. The partner simply
stands still and relaxed, and all ows you to
practise the throwing movement against him
without offering any resistance. When he
falls, he practises the breakfal!. Usuall y
partners do ten throws on each other, in turn,
or rather ten repetitions of the same throw.
Hundreds of thousands of repetitions are
13
4
BASIC PRINCIPLES
needed with every movemenl , and to achi eve
these numbers more rapidly partners do not
always compl ete t he throw in thi s fo rm of
practi ce. They simply move into position,
pick the opponent clear of the ground, put
him down on his feet , move OUL, and in again.
Beginners are better advised to complete the
throw. however. so tbat the one being tbrown
gets practice in falling.
2. Randori . This is the name for free practice
on the move, and it must not be confused
with contest. Opportuniti es are given to try
throws and resistance is varied according to
skill. There is no wi nner or loser. so partners
can relax and lry out the movements learnt
as standing throws when on the move.
14
3. Contest. This, as its name implies, is com-
pet iti on to see who can defeat whom. Usually
a contest lasts anything from three to fi ve
minutes, or until one of tbe contestants gets
a point. A point is given for a good clean
throw. Half a point or less may be awarded
for a good attempt. On the ground, a point
can be won by holding for thirty seconds in
a recognised holdi ng (see Chapter 4) or for a
submission. If no point is scored the referee
or judges can decide the contest on style,
attitude, fighting spirit and such like.
4. Kata. This is a formali sed practice of throws,
groundwork or self-defence, and is more fully
described in later chapters.
CHAPTER TWO
Breakfalls
Breakfalling is the art of falling without hurt-
ing oneself, so that the instructions given in this
chapter could also benefit people who have no
intention of ever practising competiti ve judo,
The commonest causes of injury when people
fan down in the st reet are letting the head lIop
back so that it hits first, or putting out a hand
to save oneself and so damaging the wrist or
arm. Knowledge of break falling would avoid
either of these mistakes.
There are four basic breakfal ls :
1. The Backwards Break/ all (Ushi ro Ukemi)
This is best practised by taking up the crouch-
ing position shown in Figure 5, with the hands
crossed in front.
Look at your belt, so that your chin is tucked
in, and your head will not lIop back and hit the
mat. Now sit as near your 11eels as possible, roll
back onto your shoulders, letting your feet come
up, and as your shoulders hit the mat , slap the
mat on either side with your whole arms, palms
down, at an angle of 45 degrees from the body.
See Figure 6.
Make sure your arms are at the right angle
to the body. ]f they are too far away, you risk
injuring the shoulder; if they are (00 close, you
risk falling on them and injuring the arm. Swing
the arms loosely, not tensed, and you will find
that they bounce off the mat. ]f, when you land,
your arms stay on the mat, you are holding them
too tensely. The harder you slap the mat the
better, since the slap absorbs part of the shock
of falling.
When you can do this from a crouching posi-
tion, do it from a position haLf way to standi ng,
and later from a fu U standing position.
2. The Side Break/all (Yoko Ukemi)
Stand upright. Raise the left l eg straight out
in front of you, resting your left hand on your
left thigh. See Figure 7. Cross your right arm
over your chest.
Now bend your right knee, si t as near the
heel as possible and roU back as for the back-
wards breakfall, taking care to keep your chin
tucked in and to look at your belt so that your
head does not fl op back and hit the mat. Let
your feet come up and as your shoulders hit the
mat strike it with your right arm as before at an
angle of 45 degrees, palm down . See Figure 8.
Thi s breakfall , made with the right hand, is
known as 'the r ight side breakfaU'. If you
reverse the directions and do it with the left
hand, it is ' the left side breakfall' .
3. The Forward Rolling Breakfall (Zempo Kai-
ten Ukemi)
From the normal standing position, advance
the right foot, bend the knee, and place botb
hands on the ground, fingers pointing inwards.
See Figure 9.
From thi s position, push yourself off with
your left leg, roll directly forwards, head over
heels, and land on your back in the side break-
fall position, slappiog t he mat with your left
hand at the same angle as in the side breakrall.
See Figure 10.
This is known as ' the right rolling breakfall'.
If you reverse the directions by putting your left
leg forwards , pushing off with your right leg and
slapping with your right hand, you are doing
'the left rolling breakfall '. Both are needed, of
course, and botb should be practised.
4. The Front Breakfall (Mae Ukemi)
This is little used to day and is a survival of
the ju-jilsu days when it was permissible to
throw the opponent forwards onto his face. Tlli s
is no longer allowed, so that the only use of the
15
5
7 8
6
9
front breakfall is where a rolling break fall would
be the normal action but you are too close to
the ground to do it.
In the front breakfall, you land on your fore-
arms and hands, which are turned inwards in
much the same position as for the kneeling bow,
and on tbe toes of your feet. Your body is
straight and off tbe mat, so that nei ther your
nose, your stomach, nor your knees hit the mat.
I! is best pract ised first by kneeling down, bend-
ing forwards and striking the mat with the fore-
arms in the right position. When you can do
that, combine it with shoot ing out the legs,
spreading them and coming up on the toes.
10 From here, move on to simply falling directly
.... ---------------------.., forwards, and then at a later stage giving a
little jump into it. Figure II clearl y illustrates
the position of landing.
These break falls are used when landing from
any of the t hrows described in tbe next chapter,
and the student should gain confidence in doing
tbem before being tbrown. Initiall y, it is best if
he is only thrown by a teacher, who can put him
down gentl y, until he has gained con fidence in
breakfall ing. He should not do 'randori', or free
practice, until he is proficient in all the break-
falls on either side.
17
11
trips over your outstretched foot. As he falls ,
pull down wit h your left hand to encourage the
falling motion and, of course, Li ft sl ightly as he
lands to enable him to break fall . See Figure 17.
4. Fioaling Loin fl ip Thrmv (Uki Goshi)
Step in wit h your right foot to a point midway
between his feet, turni ng your body so lhat your
right side is against his chest and stomach. Al
the same time give a lifl pull with your left hand
and let go wi th your right hand and slide it
around his back on the level of his belt. This
hand and the pull of your left holds him t ight
against your side. Bend your knees sli ghtl y as
you mOYe in. See F igure 18.
Now throw by straight eni ng your knees to
bring him off the ground and continuing to turn.
Turn your head and let your whol e body foll ow.
See Figure 19.
He should land in front of you and directly
across your feet, though Dot on them, of course.
5. Major Quter Reaping Throw (0 Soto Gari)
Your partner's .feet are on a li ne. Step in with
your left foot onto the same line and place it
just outside his right. With your right hand push
up over his shoulder and down towards his right
heel. With your left hand push down towa rds
hi s right heel. Take your head and your whole
body in, so that you are looking over hi s right
shoulder at the ground and your right shoulder
is pushi ng against him, thus using the weight of
your body as well as your hands. The effect of
all these act ions is to pin the partner on his
right heel. See Figure 20.
Now swing your ri ght leg through the gap
between your left and his legs and use it to sweep
away his right leg on which he is supported. The
act ion should be a sweeping one, not a hook or
a kick. The point of cont act is bet ween tbe back
of your right thigh and lhe back of his. Turn
slightl y to your left as you throw. See Figure 21.
6. Major Hip Throw (0 Goshi)
Lift and pull slightl y with both hands so thaI
the partner comes onto his toes. This is a rocking
motion and very gent le, or he will see what is
coming and -resist. Step in with you r right foot
to just inside hi s right. Take you r right hand
behi nd his back and place it on hi s right shoulder
blade as you turn your back to him. Bring your
left foot back around in a small circl e and place
it just inside his left. In this posit ion both your
THE GOKYO
knees should be bent and your right hip should
project beyond his just enough for you to pick
him up on it when you straighten your knees.
See Figure 22.
Throw by cont inuing to turn, bringing him
over your hi p and down in fronl of you. See
Figure 23.
7. Major /n/1er Reaping (0 Uchi Gari)
Step in towards him, with your left foot, turn-
ing your rigbt side to him. The foot is placed
pointing across his body towards his right and
about a foot in front of his toes. Pull forwards
with your left hand and with your right push
over his shoulder and down, so as to pin his
weight on bi s left heel. See Figu re 24.
Insert your right leg between his and use it
to sweep away hi s left, on which hi s weight is
pinned, The movement is a circular one. Take
hi s leg out sl ightly and then forwa rds. Whereas
in all the throws described so far the partner
fall s with a left side breakfall , in this throw he
does lbe backwards break fall, unless you retain
the bold on his right sleeve, in which case he
might be turned into a left side break fall. See
Figure 25 for tbe throw.
8. Shoulder ThrolV (Seoi Nage)
Lift and pull his ri ght arm with your left, at
the same lime stepping in witb your right foot
to just inside his ri ght and turning on it. As you
turn your back to him bring your left foot back
insi de his left , with your heel s on the same line
as hi s toes. and at the same time thrust your
right sboulder under hi s rigbt armpit. With your
right band let go the hold on his lapel as you
start to move in and. instead, catch his jacket
hi gh up on t he right shoulder. Bend your knees
as you move in. See Figure 26.
To throw, st raighten your knees to lift him
on your back. Conti nue turning and throw him
ove r your right shoulder to the ground. The
action- is like having a sack on your shoulder
and shrugging it off. You do not take him
direct ly oyer and onto his head, but rather
around you and certainly onto his back. See
Fi gure 27.
SET TWO
1. Minor Quier Reaping Throw (Ko Soto Gari)
You r partner's feet are on a line. Step first to
his right side with your left foot and then in with
21
~ , '
1/
'I
20
ZZ 23
21
24
26 27 25
30 31
29
right foot. Turn your body at the same time
and take your right foot back, pulling on his
left lapel with your rigbt hand and lifting sl ightly.
The effect of this is to make him advance his
left foot. See Figure 36.
With your left hand push towards his body
and continue your turn. This will lead blin to
move bis right foot up to bis left. As he does so,
turn your left foot and place the sale against
the outside of his right foot, pushing it into his
left. Lift with your right hand and pull down
with your left. These actions must be simul-
taneous and timed to coincide with his movement
of his right foot. The effect is to sweep him clean
off the ground. See Figure 37.
With opponents who are incautious enough to
bring their feet close together, or who skip
around, this throw can be done simply by sweep-
ing the foot they are bringing up into the otber
and pulling down with tbe hand on that side and
lifting with the hand on the other side. Few
experienced men will make these skipping move-
ments of tbemselves, however, or bring their
feet too close together, and you have to try and
make them as described above. An effective
variation of the right-hand lift is to let go the
lapel and lift under the left armpit. It is very
strong and almost invariably makes the opponent
bring bis right foot up close to his left.
6. Body Drop (Tai Otoshi)
Take your left foot back around you in a
small circle and place it to point in the same
direction as the partner's toes and about a foot
in front of bis left foot. Turn your body at the
same time and pull strongly on his right sleeve
with your left hand. The pull is with the whole
of your body turning, not just with the hand
alone. With your right hand, lift and bring for-
wards so that the partner' s weight is brought
onto his right toes. At this stage. bring your
right leg across and place Ihe toes on the ground
just outside his right foot. Your right leg now
blocks his advance. See Figure 38.
The point of contact between your leg and t he
front of his shin must be low down. If you are
too high up he will block your attempt by bend-
ing his right knee. There must be no body
contact between you and there should be a
straight line down your right side from heel to
head. To throw, simply continue to turn and he
THE GOKYO
wiU fall over your outstretched leg. Maintain a
strong pull wi th your left hand from start to
finish of this movement. See Figure 39.
7. Sweeping Hip Throw (Harai Goshi)
Break the partner's balance directly forwards
with a lift pull on his right sleeve with your left
band and a pull on his lapel with your right.
Step in with your right foot to just inside his
right, turning on it to take your left back to
just inside his left. This is as for the hip throws
previously described. With your right hand, let
go his lapel and take it behind his back onto
his right shoulder blade. Now sway your weight
onto your left leg so that you can raise the right
leg off the ground. See Figure 40.
Turn and with your outstretched right leg
sweep his right leg backwards and up, throwing
him down in front of you. Note lhat Ihe sweep
must be made wit h the back of your thigh
against his thigh. ft must not be a hook at tbe
level of lhe shin or ankle. See Figure 41.
8. Inner Thigh (Uchi Mata)
Pull gently on his left lapel with your right
hand to lead him to advance his left foot. As he
does so, step in with your left to a point about
midway between his legs. Pull his right sleeve
towards your left side. Insert your right l eg
between his legs so that you can use it to sweep
hi s left thigh from the inside. See Figure 42.
Now, as he is about to transfer hi s weight
from his right leg to his left, sweep his left
upwards with your right thigh from the inside
and turn him off your leg with the combined
action of both your hands. See Figure 43.
The above description of the throw is as it is
usually performed today. It can also be per-
formed more clearly, howeyer, as a foot throw
in the following manner. Step back and around
with your left foot to a point just outside his
left and on Ihe same line, turning your body as
you do so. Break his balance forwards with a
pull on his right sleeve with your Jeft hand and
by lifling and turning your right wrist forwards.
This balances him on his toes. Insert your right
leg between his as previously described. See
Figure 44.
Now, continue to turn to your left , lift his
left leg from inside his thigh with your right, or
a little lower down than the thigh, pull forwards
and downwards with your left band and turn
27
36 38 39 37
40 42 43 41
THE GOKYO
him off your outstretched right leg with the com-
bined action of botb your hands. See Figure 45.
SET THREE
1. Minor Ouier Hook (Ko Soto Gake)
With your rigll1 foot , step forwards to a point
midway between your partner's legs. With your
left hand push down towards his right heel. Take
your right hand, holding 11is lapel up and over
his shoulder so that your wrist rests on his
shoulder, and continue the movement down
to his rear. This has the effect of pinning him
on his heels. See Figure 46.
With your left leg, hook his right behind the
knee, from outside and pull it forwards as your
hands continue to push him backwards and
down. See F igure 47.
It is essential that your hands definitely pin
bim on bis heels. not simply push back, other-
wise he will step back and so escape.
2. Lifting Hip Throw (Tsuri Gosh i)
Pull with your left hand in a lift pull to break
the partner's balance to the front. Step in with
your right foot to just inside his right and turn
on it, taking your left back to just inside his left.
With your right hand let go his lapel , pass it over
his left arm and grasp his belt at the back. See
Figure 48.
You should bend your knees slightly when
executing the above movements. Now straighten
your knees and with a strong pull with both
hands bring his body into tight contact with
yours. Turn and throw him over your hip. See
Figure 49.
If tbe partner is much shorter than you, you
can pass your right arm over his left shoulder to
grasp the belt. A strong lift on the belt tben
brings him up onto your hips. n is not permis-
sible to hold the belt continuously in contest,
but it is permitted to catch it for the performance
of this throw.
3. Side Drop (Yoko Otoshi)
By pulling down on the partner's right sleeve
with your left hand and lifting on his lapel with
your right hand, break his balance directly to
his right side. Slide your left foot in to just out-
side his right ankle and fall onto your own left
side. Sec Figure 50.
Pull him to your left with both hands and he
will fall to your left side with his body almosl
30
parallel with yours. See Figure 51.
It is essential to use your hand movements to
turn your partner onto his back when perform-
ing tbis throw. Not only is it forbidden by tbe
rules to bring him down onto his r ight shoulder,
but it will break his right collar bone if you do.
So be very careful. It is for this reason that this
throw and others listed at the end of this chapter
are banned to grades below brown belt.
4. Leg Wheel (Ashi Guruma)
This is usually performed when the partner
has his right leg to the rear and is about to bring
it forwards. Step back and around with your left
foot, placing it on a line drawn through your
opponent ' s feet, witb the toes pointing in the
same direction as his and just outside his left
foot. With both bands tilt him onto his toes,
breaking his balance at right angles to tbe line
drawn through his feet and in a forwards
direction. Stretch out your right leg and place it
in front of his, so that it blocks his advance,
above the knee of his left leg and below tbe knee
of his right leg. Your right toes are not on the
ground. See Figure 52.
Bend forwards slightly from the hips to tilt
him still further over his toes and, as he loses
balance, turn to your left. Tben, with the action
of your hands and the turning of your body, tbrow
him forwards over your outstretched right leg.
See Figure 53.
Note particularly tbat your right leg simply
blocks h is advance. It does not sweep his legs
back. You will find that the throw can almost
be performed without the use of tbe leg. He is
tilted onto his toes and will fall by your body
turn alone if he does not save bimself by advanc-
ing his right foot. Your leg stretched across his
stops him making this movement, which would
save him.
5. Spring Hip ThrolV (Hane Goshi)
Break your partner's balance to the front with
a lift pull on his right sleeve with your left hand
and a pull with your right hand. Step in with your
left foot to a point midway between his legs. Raise
your right leg and, bending it at the knee, place it
across the front of bis legs with your right knee
projecting beyond his right knee. Let go with
your rigbt hand and pass it round his back. Witb
both hands hold his body tight against your right
side and on his toes. See Figure 54.
44
46 47 45
- ,- .....
52
,
I
THE GOKYO
Holding him tight against you, sway your
weight to your left, lifting him clear of the
ground, and turn, bringing him over your right
hi p and down. See Figure 55.
Your bent right leg helps to lift him.
6. Sweeping Drawing Ankle (Harai Tsurikomi
Ashi)
Step back diagonally to your right rear with
your right foot, turning it to point towards the
opponent at an angle of 45 degrees. Pull forwards
and upwards with your left hand on his right
sleeve, and lift and pull with your right hand
on his left lapel. The effect is to break his balance
towards his right front corner, so that he wants
to step forwards with hi s right foot to regain
his balance. Up to this point the throw is exactly
the same as the Propping Drawing Ankle Throw,
described in Set One, no. 3. See Figure 56.
Continue turning and pulling forwards with
your left hand, pulling in a natural circle and not
at a tangent towards your own body. This will
lead him to actuall y take the step forwards with
his right foot in order to regain his balance. As
he is in the middle of the step and about to
transfer h.is weight, push his right leg back with
the sale of your outstretched left fool. See
Figure 57.
Do not sweep too high. Think of making
contact a t the bottom of his shin with the littl e
toe edge of your left foot making contact with
the top of hi s right foot.
7. Slomach ThroHi (Tomoe Nage)
With both hands lift and pull the partner so
that he is tilted ont o his toes. Slide your left foot
in between his legs. Raise your right leg and
place the sale of your foot about two inches
below his navel, falling backwards onto your
back as you do so. Your falling weight brings
him forwards over you. See Figure 58.
Straighten your right leg and pull wi th both
bands, and you will throw him directly over your
head onto his back. He wi ll land with the right
rolling breakfall. See Figure 59.
This type of throw, in whi ch you fall down
yourself in order to throw you r opponent, is
known as a 'sacrifice throw', Of tbem all, it is
the only one allowed in beginner's contests, as
it is the least dangerous. Tile disadvantage of this
type of throw is, of course, that if it fails you
have sacrificed your own standing position, and
34
the opponent is li kely to fall on top of you and
start groundwork. See Chapters 4, 5 and 6. Judo
students tend to specialise in standing techniques
or groundwork. so if you are not very good on
the ground avoid resorting to sacrifice throws.
8. Shoulder Wheel (Kata Guruma)
Pull on your partner's right sleeve with your
left hand so that he advances his right foot. As
he does so, step in with your right foot between
hi s legs. Bend your knees and lower your body.
Put your right hand between his legs and grasp
his trousers behind hi s ri ght thigh. Put the back
of your head against his right side at about his
belt level. As you are doing thi s, change your
left hand hold on his right sleeve from an outside
grip to an inside grip and pull it towards your
left chest. See Figure 60.
Now bring your left foot closer to your right
one, at the same time straightening your legs and
so lifting you r partner onto your shoulders. The
position is similar to what is popularly called the
'fireman's lift' . Throw him over your head so
that he falls on his back obliquely to your left
front corner. See Figure 61.
SET FOUR
I. Corner ThrO)v (Sumi Gaeshi)
This type of throw is performed from the
defensive, rather crouching posture that some
opponents adopt. It has tended to die out wi th
the more uprigilt posture that is in fashion today.
However, with both of you bending forwards
slightly and knees bent, let go with YOUt right
hand and place it behind t he opponent's back,
under his left armpit. Rest your right hand on
his right shoulder blade if possible. With your
left hand pull his right sleeve as tight ly as you
can against your left side. From this position
place your left foot midway between his legs and
to the rear of his heels. Fall on your back,
raising your right leg and placing the instep
against the inside of the knee of his left leg. See
Figure 62.
With your right leg, lift his left upwards and
towards your head. With your left hand pull
down and with your right hand lift , and he will
be thrown Over your head. All these movements,
though described separately, have, of course to
be synchronised in practice. The opponent lands
with a right rolling breakfall. See Figure 63.
64
2. Val/ey Drop (Tani Otoshi)
At first , this looks very similar to the Side
Drop described in Set Three, no. 3. The differ-
ence is largely one of direction of throwing,
which depends on the direction in which the
opponent's balance is broken.
Advance your left foot deeply outside his right,
the knee of your left leg being about the position
of his right ankle. Put your right hand under
his left armpit. With your left hand pull his
righl sleeve to your left side. Fall on your left
side. See Figure 64.
With the lift of your right hand and the pull
of your left , combined wit h your falling weight,
throw him over your outstretched left leg behind
your left shoulder. See Figure 65.
3. Outer Winding Spring Throl v (Hane Maki
Komi)
This is a combination of SOlO Makikomi (no.
7 of this set), and Hane Goshi (no. 5 of Set
Three). Lift pull with your left and right hands
to bring him onto his toes. Step in with your
left foot to a position midway between his,
turning your right side to him. Bend your right
leg and put it across his legs. Now, holding him
tight against you wit h your left hand pull, take
your right arm over his right. See Figure 66.
Continue turning, put your right hand on the
ground and roll onto your right side. Your
partner is whipped over your body and lands
beside you. See Figure 67.
4. Scooping ThrolV (Sukui Nage)
Let go his sleeve with your left hand and
grasp his left lapel at about the position tbat
your right hand normally grasps it. Step to hi s
right side so that you are facing him, your body
at [ight angles to bis_ your left foot behind him
and your right foot in front. Bend your knees.
With your right hand grasp either the back of
hi s jacket or his belt , t hrusting your hand
between his legs to do so. See Figure 68.
Push back against his chest with your left
forearm and pull forwards with your right hand,
at the same lime straightening your knees and
thrusting your stomach under you r partner. You
will be able to lift him clear of the ground. See
Figure 69.
Now simply drop him onto his back, or throw
him in the direction of his head so that he falls
on to h is back.
S. Changing Hip ThrolV (Vtsuri Goshi)
This is a counter throw. Your partner attempts
any of the hip throws on you, such as 0 Goshi
(Set One, no. 6), or Vki Goshi (Set One, no. 4).
Bend your knees and thrust your stomach
forwards to block his throw. With your left arm
grasp him along the line of his belt at the rear
and, with your right elbow on your right hip,
use your right hand to push him backwards.
Straighten your knees and you will be able to
li ft him clear of the ground and swi ng his legs
to hi s rear. See F igure 70.
At the moment when he has been swung back,
slip your left hip under him by stepping forwards
wi th your left foot. You will then be able to
perform the hip throw on him on the opposite
side to normal by simply turning and pulling
down with your right hand. See Figure 71.
6. Major Wheel (0 Guruma)
Step back and around wit h your left foot to a
position just inside his left foot , on tbe same line
37
65
67
70 72 73 71
THE GOKYO
and faci ng the same way. With your left hand
break the opponent' s balance forwards. With
your right hand bring him close to your right
side and onto your right hip. Stretch out your
right leg across the front of his legs. See Figure
72.
Continue turrung to your left and, by swi nging
your right leg back and up, lift him off the mat
and over your hip. See Figure 73.
This resembles the Leg Wheel (Ashi Guruma:
Set Three, no. 4), but the partner is thrown over
your hip rather than just your leg, and his
balance is broken more to his left front comer
than directly forwards with the pull of your
right hand.
7. Outer Winding Throw (Soto Maki Ko.ru)
Lift and pull on hi s right sleeve with your left
hand. Take your left foot back and around and
place it just in front of his left foot. Let go with
your right hand and take your right arm over
his right arm. Stretch out your right leg and
place the foot just outside his right foot to block
bis advance. Now, with the combined pull of
your left hand and the push of your right upper
arm, trap hi s right arm under your right armpit.
See Figure 74.
Tum your body to your left, put your right
hand on the ground. and fall on your right side.
The opponent is wound over your body and falls
beside you. See Figure 75.
8. Floating Drop (Uki Otoshi)
Step back diagonaUy with your right foot and
point the toes at an angle of 45 degrees towards
the partner. With your right hand, lift to bring
him onto his toes. With your left. lift and pull so
that he wants to step forwards with his right foot
to regain his balance. See Figure 76.
At the point where he wants to step forwards,
but before he does so, pull down with your left
hand and li ft with your right simul taneously. The
effect is to turn him in a large circle towards bis
right front. See Figure 77.
SET FIVE
I. Major Outer Wheel (0 Soto Guruma)
Step in with your left foot onto the same line
as the partner' s feet and just outside his right
foot. With you r left hand push down towards
his right heel. With your right hand, push up and
over his shoulder and then down his back, resting
40
your .right wrist bent on his left shoulder. The
effect of tbese moves is to pin him on both heels,
with his balance broken directly to his rear.
Swing your right leg through the gap between
your left and his right, and stretch it out so that
it is above hi s right knee and below his left. See
Figure 78.
Turn left and use your outstretched right leg
to sweep both of his away. See Figure 79.
Tbe throw is not unlike 0 Solo Gari (Set One,
no. 5), except that as you are sweeping both his
legs away it is rather more violent.
2. Floating ThrolV (Uki Waza)
Pull (he partner forwards with both hands so
tbat his balance is broken directly forwards.
Stretch out your left leg to your left and fall on
your left side, bringing yo ur left band to your
left side as you do so and pushing with your righ t
hand so as to throw the partner over your
au tstretched left leg. See Figu res 80 and 81.
Your partner should land behind you slightly
and to your left side. He does a right forwards
rolling break fa ll.
3. Side Separation (Yoko Wakare)
Lift puU with both bands to break your
partner's balance directly forwards. Turn your
right si de towa rds him and slide your left foot
widely to hi s right, at the same time dropping
onto your left side immediately in front of him.
See Figure 82.
Slide your right foot through also as you are
falling, so that your two feet block his advance.
As you fall. you pull down strongly with both
hands and as his weight is tilted over his toes he
somersaults fo rwards over your waist and lands
on his back at approximately right angles to your
body. See Figure 83.
This particular throw, although banned to
lower grades, is used as a counter-throw to such
throws as 0 Goshi (Set One, no. 6), by stepping
quickly round in front of the opponent and
falling.
4. Side Wheel (Yoko Guruma)
Step in with your left foot to behind your
partner's right , turning your body to face bis
side. Your feet are evenl y spaced, one in front
and one behind bim, and you a re facing his right
side, at right angles to it. With both arms, clasp
bim around the waist, at the level of his belt.
See Figure 84.
"
J
74 76 77 75
/
This is the kind of posItIon from which you
would do the Changing Hip Throw (Set Four,
no. 5), or the Rear Throw (no. 6 of this set).
To counter any attempt at these, the partner will
lean forwards when you take up your position.
As he does so, slide your right foot deeply
between his and fall on your back, rolling onto
your left side. See Figure 85.
Your partner will land just behind your left
shoulder with a forwards rolling breakfall.
5. Real' Loin (Ushiro Goshi)
This is a counter-throw to an attempt at one
of the hip throws. Let the partner move in for
Uki Goshi (Set One, no. 4). As he comes in.
bend your knees to lower your hips and clasp
him arou.nd the waist at belt level with both
hands. Lean backwards and thrust your stomach
forwards so that it is below his hips, and you
can lift him on it. See Figure 86.
By straightening your knees whilst holding
him tight and thrusting your stomach forwards,
lift him clear of the mat . swingi ng his legs
forwards so that he levels out. At the peak of
your lift, walk backwards from under him so
that he falls onto his back. See Figure 87.
It is permissible to use the left knee to assist
your lift.
90
91
6. Real' Throw (Ura Nage)
Step in to your partner's right side, your left
foot behind him. your right foot in front of him,
your body at right angles to his and facing him.
Catch him arollnd the waist with your knees
bent, your left arm encircling the line of his
belt. ano your right hand in lJis stomach. See
Figure 88.
Bend backwards as you st raighten your knees
so that you lift him clear of the mat. At this
moment throw 'yourself backwards onto your
back and hurl him over your left shoulder to
your rear. See Figure 89.
This is rather a dangerous technique. Practise
it with care, and do not land the partner on
his head but let him go with your left arm so
that he can do a rolling breakfall.
7. Corner Drop (Sumi Otoshi)
Step in wi th your left foot to just outside his
right, bending your knees as you do so. With
your left hand push towards his right heel. With
your right hand, push up over his left shoulder
and down towards his right heel. The elfect of
this is to pin him on his right hee\. See Figure
90.
Now push with your right hand and pull with
your left, and you will turn him onto his back,
probably getting both his feet olf the ground but
certainly his left. This is not an easy throw as it
is executed largely with the hands alone. It is
45
92
I
THE GOKYO
similar to Uki Otoshi (Set Four, no. 8), the only
difference being the direction of throw. See
Figure 91.
8. Side Body Drop (Yoko Gake)
Pull with your left hand so that the partner
will advance his right foot. As he does so, apply
the sale of your left foot to the side of hi s right
and fall backwards and to your left side. See
Figure 92.
As you are going down, keep a strong pull
going wit h your left hand and with your right
push him so as to turn him onto his back. Sweep
his right ankle across his body from his right to
his left. He will land on his back, almost parallel
to your body. See Figure 93.
These forty techniques cover most of tbe basic
throws in judo today. It will be found that the
others are really just variations on these, al-
though one authori ty says that there are over six
hundred usted throws. As has been said, these
techniques can be applied to right or left side,
giving eighty ways in all of throwing the partner.
Because of their dangerous nature, the follow-
ing are discouraged below the grade of brown
belt, if not actually forbidden. Tn some dojos
they would be forbidden at any grade:
Set Three, no. 3 (Yoko Otosbi)
Set Four, no. 1 (Sumi Gaeshi)
Set Four, no. 2 (Tani Otoshi)
Set Four, no. 3 (Hane Maki Komi)
Set Four, no. 7 (Soto Maki Komi)
Set Five, no. 2 (Uki Waza)
Set Five, no. 3 (Yoko Wakare)
Set Five, no. 4 (Yoko Guruma)
Set Five, no. 6 (Ura Nage)
Set Five, no. 8 (Yoko Gake)
If you practise these throws, then, take special
care and only do so under the supervision of a
master.
All the techniques in this and the three follow-
ing chapters should be learnt by any student
who is interested in contest. Judoka (judo
student s) tend to special ise in the one or two
techniques that they find suit them best, and in
the course of time you will no doubt develop
your own 'pet throws',
The tbrows should be practised first as standing
movements, then by simpl y doing the movement
without throwing (an exercise called 'batsukari'),
then in randori, or free practice, to gain experi-
ence ;n applying them on the move. Finally, they
should be tried in contest.
Even for those student s who are not primarily
interested in contest, practice of these throws
will constitute a very fine exercise. Consider, for
example, the throw Kata Guruma (Set Three,
no. 8). The action of bending the knees and
lifting the partner onto one's shoulders whilst
straightening them, bears a di stinct resemblance
to the body-builder's exercise in which he does
a deep knees bend with a weight across his
shoulders. The same muscles are used and
developed by th is exercise.
The throws also have their application in self-
defence, of course, and we shall see in Chapter
9 how some of them are applied to tllis end.
Speed and timing are the secrets of success in
throwing. The opponent is only off balance for
a fraction of a second. You must,ee the moment
coming and apply your throw at that precise
instant. The time to attack is when he is breath-
ing in, if possibl e. By constant practice of
93
randori you will develop a kind of sixth sense
that tells you what the other man is going to do
next.
Thousands of repetitions are needed to get the
tbrows accurate. Ultimately, the aim is to do
them without having to think about them, as a
kind of conditioned reflex. We are all familiar
with the situation where we do something quite
THE GOKYO
casually, sucb as throwing our hat onto a hat
peg, and when it comes off, we say, 'I couldn't
do tbat again, if 1 tried' , and we couldn't. True
judo is rather like that . It happens, rather than
being consciously done. But behind this 'happen-
ing'. with its deceptive ease, lie the years of
practice.
~ 7
CHAPTER FOUR
Groundwork: Holdings
It is generally considered in judo circles that
an assailant who was thrown heavi ly with one
of the throws already descri bed, would be
unable to continue to fight if he landed on a
hard surface without knowing how to fall. This
is probably true, as he would be most likely to
hit his head if he did not know the breakfalls
described in tbe previous chapter.
In case further measures should be necessary,
however, judo students learn various ground-
work movements. In this chapter, and the next
two: we shan exami ne the commoner ones.
What are call ed ' holdings' , or osae komi waza,
are learnt first. These are methods of controlling
the opponent without actually hurting him, so
that he cannot get away. They would, for
exampl e, enable one to hold a ruffian until the
police arri ved.
They are learnt first because until you can
control the movements of your opponent the
arm locks and strangleholds of the next two
chapters are useless. He would be able to move
out of them.
In judo can lest, groundwork can be done if
one man is thrown, but nol suffi cien tl y cleanly
to gain a point. Alternatively, if lhe contestants
do not wish to do groundwork, they can stand
up agai n and continue the fight on their feet.
The important thing to remember about
holdings is to relax, sagging as mucb of your
weight as possi ble onto the opponent, like a dead
weight. If you st iffen up you will find that you
are taking some of the weight off him and the
hold is then less effecti ve.
To gai n a point in a judo contest you bave to
hold the opponent for thi rty seconds after the
referee has indicat ed that he recogn ises the hold.
It is considered that if the opponent cannot get
48
out in thirty seconds, he never will . At any time,
eit her in a balding or under an arm lock or
strangl ehold, the opponent may submit. To do so
he lightly taps either the opponent or tbe mat
wit h a hand or foot. He must be instantly
released on giving this signal of submission.
Alternatively, he might say that he gives in.
We shall st udy eleven holdings.
1. Scarf Hold (Kesa Gatame)
Your partner is lying fl at on his back. Sit at
his right side. Witb your left hand, hold his
jacket at hi s right sboulder and trap his right
arm under your left armpit. Your stomach should
be close up under his right armpit. Bend your
ri ght knee and take it forwards under hi s right
arm. Take your left leg out at right angles to hi s
body, bending it at the knee if desired. Put your
right arm under his head from his left side, with
the palm of the hand on the ground. From this
position, put your right hip bone in hi s solar
pl exus and slide your body to his right . Relax
all your weight on him, keeping your head
forwards and to the left of his head (as viewed
by you), i.e., over his right shoulder. See Figure
94.
Hold tight and if he moves around in his
efforts to dislodge you move wi tb him, maintain-
ing the same relat ive positi ons of your bodies
and legs. Do not let him trap your left leg by
bringing his right foot over it. He will probably
try to sit up. Counter this by moving your left
foot back. He will vary this with trying to buck
you over hi s head, placing hi s feet on the floor
and lifting hi s hips to do so. Counter this by
crossing your left leg over your right and pushing
yourself back down. He may try to grasp you
around the waist and roU you over his body to
hi s left. Stretch out your r ight arm and put the
hand on the floor to push yourself back.
Relax entirely. If you stiffen up you are like
a board. He has only to lift part of your weight,
since the other is taken on that part of you that
remains on the floor. If you relax you are like a
sack of sand. As he lifts one part of you, the
weight runs to another and his efforts are
frustrated.
He is not allowed to hit or press nerve centres,
nor to push the face, but he can put his hand
under your chin to pusb your head back. He
would try this with his free hand, of course,
so tuck your chin in, keeping your head down
and close to the right side of his head.
If he succeeds in freeing his right arm from
your left armpit, the hold is considered broken
and the count would stop in a judo contest. The
referee would then order you both to resume
your feet, unless you moved into another hold
or continued to struggle for an armlock or
stranglehold, or he was attempting counterbolds
against you.
2. Shoulder Hold (Kata Gatame)
This is done from the same position as the
last hold but the opponent does free his right
arm by pulling it out. As he does so, push on his
right elbow so as to take it across hi s throat.
With your left hand, catch your right, turning
the arm so that the bone on the thumb edge of
the arm is against the back of his neck. Pull
your right arm up with your left hand and put
your head on the ground, tight against his right
upper arm so as to press it to the side of his
head. Hold tight and move around with him as
before. See Figure 95.
This hold sometimes partly strangles the
opponent, in which case he wi ll give in by
tapping. Be prepared to let him go immediately
he does so.
You may vary the position of your feet in this
hold by coming up onto your right knee, keeping
it close to his side, and stretching your le ft leg
back with the toes in the mat. Then, use this
ou tstretched left leg to push your own head
into the mat above his right shoulder.
The opponent may try to turn onto his face,
or to do a back somersault, or to loosen your
grip by pushing his right arm against tbe side of
your head with his left. Be prepared for any of
these manoeuvres. Hold tight and try to main-
,-- -
96 97
GROUNDWORK: HOLDINGS
tain the same relative positions.
3. Side Four Quarters (Yoko Shiho Gatame)
Kneel at the opponent 's right side, facing him.
With your left hand catch his left shoulder,
holding the jacket, of course, and passing your
left arm under his head to do so. Pull the
shoulder to the ground by means of the jacke!.
Pass your right arm between his legs and catch
eit her his belt or the tail of his jacket if you
cannot reach his belt. Lower your weight for-
wards so that you are lying across his body with
your head on the left-hand side. Relax all your
weight on his body. Stretch your legs out behind
you, spread them wide apart and dig your toes
into the mat. Lower your stomach. Take as little
weight as possible on your own toes or elbows.
Put as much as you can on the partner. See
Figure 96.
If he moves around, move around with hint,
maintaining the same relati ve positions. He may
try to roll to his left. If he does, put your head
on the ground to push yourself back. He may
put his feet on tbe ground and bridge witb the
object of turning quickly towards you. Sag your
weight on to him and with both hands pull in
the direction of your own knees. He may try
with his left forearm to push the side of your
neck and take your head far enough down his
body to bring his left leg over your head. This
is a bad position for you and may lead to an
armlock on your left arm. To avoid it, as soon
as you see his int ention keep your head well up
towards his left shoulder so tbat he cannot get
his forearm against your neck. If he does,
instantly put your head on the ground close to
his left thigh so that he cannot get his leg over
your head. 1f he has gO! it over, let go with your
left hand and bring the arm into your body out
of danger. But remember that, in doing tbis,
you will have lost the hold and must move into
another. Moving into the next hold (no. 4) is a
possible move from this si tuat ion.
4. Upper Four Quarters (Kami Shiho Gatame)
The opponent is lying along a line. Kneel
behind his head, facing him and on the same
line. Pass both hands under his shoulders and
catcb his belt at either side of his body. Pull it
to the ground so that the piece of his belt on
top of him and between your hands is holding
him down. Lower your body forwards so tbat
50
your stomach is on his face and your chin in
his stomach, or as near these positions as is
possible, bearing in mind your relative heights.
Spread your legs wide apart and dig your toes
into the mat. Lower your stomach and relax aU
your weigbt onto him. This bold partially
smotbers an opponent so, for practice, allow 'him
to turn his head to one side so that he may
continue to breathe. See Figure 97.
Maintain tbe same relati ve position, moving
with him if he moves. There must be a straight
line through his body and your's. If he can dis-
turb this straight line he may be able to sit up,
or do a backwards somersault. The usual way
to try and escape, however, is to try and turn
you over, by bridging, grasping your belt with
both hands and then dropping one leg through
the gap made by the bridge. U it succeeds, he
has exact ly the same hold on you. The answer
is to pull down strongly on lhe side he is trying
to raise with the hand and to extend the opposite
foot still wider to prevent the turn. It is a
question of leverage. If he is trying to lift his
right hip, then the force he can exert is equal to
'effort times effort arm'. according to the laws
of mechanics. The 'effort arm' in this case is
balf the distance between his hips. Your resist-
ing force js equal to 'resistance times resistance
arm', The 'resistance arm' will be the distance
between your outstretched left foot and t he
extension of the line drawn centrally up his
body. Thus the wider your foot is placed, the
greater the resistance arm. Suppose half the
distance between his hips to be 6in, and the
distance your foot is out from tbe central line
to be 24in. Let x equal the force he is using to
tr y to raise hi s hip, and y the power you are
using to stop him. Then 6x equals 24y.
Or x = 24
Y 6
The effort he will have to exert is therefore four
times the resistance you can call upon, and your
resistance potential is your total weight, if you
relax. Plainly, then, you must have him at a
disadvantage.
The scientific explanation of one's power in
relation to this holding bas been given as an
example but anyone interested in this aspect of
judo can work out for bimself tbe mechanical
advantage in most of the movements, both
throwing and on the ground. It is interesting to
do so, since it explains why often a frail girl or
a young boy can overcome a mature man of less
skill or knowledge.
5. Broken Upper Four Quarters (Kuzure Kami
Shiho Gatame)
This is a hold from behind, as in the last case.
Kneel behind the opponent's head. Keep the
same straight line through your bodies. With
your left arm passing under his left shoulder,
seize his belt at his left side and pull down, as in
the last hold. But pass your right arm over his
and take the hand up to seize his collar at the
back of his neck. Trap his right arm to your
right side with your elbow. Now spread your
legs as before, lower your body, and put your
chin in his stomach. Your right leg in this hold
is, however, rather over to your right and your
stomach tends to be on his right shoulder, hold-
ing that down, rather than on his face. Relax
completely. See Figure 98.
In a1l these holds it belps to watch tbe
opponent's breathing and to flop all your weight
on him as he breathes out, making it that much
more difficult for him to breathe in again. The
methods by which he will attempt to get out of
tbis hold are exactly the same as for the last
hold. Simply relax, maintain the same relative
positions, move with him, spread your legs as
needed to stop him turning you and keep his
right arm trapped to your right side.
6. Rear Scarf Hold (Gyaku Kesa Gatame)
Take up tbe position described in the last
hold, so that you begin by actually doing tbe
last hold. Now come up on your knees and take
your left leg through and under your right, and
apply your left hip to the side of his head. Your
left leg is now bent and stretches out at roughly
right angles to his body; your right leg stretches
out behind you. Relax your weight on his head
and hold tight with your hands. See Figure 99.
This is an extremely difficult hold to get out 100
of and the weight on the opponent ' s head often .... .. ... --.,....".-
produces a submission. Do not let him get his
head or his arm out, and maintain the same
relative positions by moving with him and chang-
ing direction with him.
7. Chest Locking (Mune Gatame)
Kneel facing him at his right side. Lean across
his body. With your right hand catch his jacket
IOJ
GROUNDWORK: HOLDINGS
at about shoulder level on his left sleeve. Put
your right elbow against his left hip. With your
left ar m passing over his body, not under his
head, rest your elbow on the ground near hi s
left shoulder and catch his belt with the left
hand. Keep your right knee against his rigbt hip
and stretch out your left leg at right angles to
his body, digging your toes into the mat. Keep
hi s hips pressed tight between your right knee
and your right elbow, so that he cannot turn
either way. Relax your weight on him. See
Figure 100.
Th is is a very strong hold. His only real hope
is to turn over, so he will try to widen the gap
between your right knee and your right elbow
to give him the necessary space. Do not let him.
He may try to catch your left foot in his right
hand so as to lift you, combining this wi th a
turn. He may try to sit up, alternating this with
tryi ng to buck you up hi s body. Just relax, hold
tight and move around wi th him to maintain
the same relati ve positions.
8. Lengthways Four Quarters (Tate Shiho Ga-
tame)
The partner is lying fl at on his back wit h his
feet on the ground and knees raised. Kneel
astride him and tuck your feet around his legs
from the outside, so that your feet catch tbe
insides of his calves. Get hi s right ar m above his
head and fold your own arms around his arm
and head, your forearms being under his head.
It is the same action as 'folding one's arms' in
schoai. Your folded arms trap his right arm to
the right side of his head. Take your oWn head
forwards to the ground above hi s right sboulder
and relax. You can spread his legs slightly, but
this may hurt him and, if it does, it would be
counted as a leg lock and banned in judo con-
tests. So be careful about this. See Figure IO!.
He will try to free a leg, Simply catch it again.
He will try to turn you over. Simply spread the
leg in the direction he is trying to take you. Sag
ali your weight on to him.
9. Broken Scarf Hold (Kuzure Kesa Gatame)
Take up first the position of the Scarf Hold
(no. I in this chapter). Now sit up and trap hi s
left arm under your right, in the same way as
you are trapping his right arm under your left.
Hold with both hands at the respect ive shoulders,
your left holding hi s right and your right his
52
left. Take your right bent leg farther forwards
beyond his right sboulder. Now you must put
your right hip bone on him and rest your weight
on it, choosing the exact position where he can
neither sit up nor buck you over his head. With
both hands and arms, keep his shoulders off the
ground. See Figure 102.
His only way out is either to buck you over
his head, holding your belt with both hands to
assist this move, or to sit up and take you back-
wards. To buck you, he has first got to get his
shoulders on the ground. Stop him. To si t up,
he has got. to shift your weight down his body.
Keep it at the exact spot.
10. Head Locking (Kashira Gatame)
This is much the same as the Scarf Hold (no.
I in this chapter) but with one difference. Your
right hand, instead of resting on the ground,
catches your own right trouser leg at the inside
of the knee. It makes the hold that much
stronger. See Figure 103.
The methods of attempted escape .and their
counters are all as described in no. I of this
chapter.
II. Broken Side Four Quarters (Kuzure Yoka
Shiho Gatame)
This, again, is almost exactly the same as tbe
side four quarters (no. 3 in this chapter), but
your left hand, instead of passing behind hi s
head. passes over -his throat and holds the
shoulder to the ground as before. See Figure 104.
A permissible variati on with the right hand is
not to put it between hi s legs, but to pass it
under his body and catch his left sleeve at the
edge, so holding his left arm to his side. Relax
on him as before. The methods of attempted
escape are all the same.
With this par.ticular hold, of course, you can
move on to the strangulat ion of the partner
simply by bringing your left elbow to the ground
so that the bony outer edge of your left arm
presses against the front of his throat. Bear all
your weight on it and he will give in.
The secrets of success in all these holdings are
to keep your body as low as possible, to relax,
and to put as much weight as possible on the
opponent , support ing as little as possible on your
own arms or legs. Even when you rail to hold
him for the full thirty seconds in a judo contest,
the struggle to escape often exhausts him so
much that he is unequal to continuing the
struggle when you resume a standing position.
From these holding positions you can move to
armlocks and strangles as described in the chap-
ters which follow. You can also change from
one holding position to another. If you do so
without losing control of your opponent, the
count would still go on in judo contest.
There is room for much experimentation and
improvising in groundwork. The only way to
become a master at it is to practise with a keen
partner and to work out moves for yourself. It is
a cross between wrestling and chess, where you
are trying to see several moves ahead and to
trap your opponent into making a false move.
Almost every muscle of the body is brought into
play in groundwork, and the exercise is com-
parable to Yoga in the benefits it confers.
102 103
104
CHAPTER FIVE
Groundwork: Arm/ocks
There are only two basic armlocks: the
straight armlock, in which pressure is put on tbe
elbow joint and the arm bent back against it,
causing pain or dislocation: and the bent arm-
lock, in which an attempt is made to turn tbe
arm ' out of the shoulder socket. All known
arm locks are a variation on either of these,
thougb there are dozens of tbem, all under
different names. We shall be looking at five ill
this cbapter, but bear in mind that whenever an
arm is straight, if you can put part of your body
or limb behind the elbow and bend the arm back
against it, you will be doing a straight armloek
in essence.
In practising these arm locks it is vital lhat
you should realise how dangerous they can be.
You can get into the position of applying them
as quickly as you like, but you must not apply '
them with a jerk, or violently. Pressure must be
put on carefully, and you must be prepared to
stop the instant your opponent signals hi s sur-
render. As previously mentioned, he does this
either by tapping or by saying tbat he gives in.
1. Cross Armlock (Juji Gatame)
Sit at the right side of your partner about the
level of his shoulder. Put your left leg across his
throat with the foot on the ground to stop him
sitt ing up. Put your right toes under his right
side, knee bent. Hold his right arm at the wrist
with both your hands, keeping it between your
legs. Lie back and put your head on the ground.
Keep your knees together. Now note on which
side of his arm is hi s lillie finger. You will find
that his elbow is on the same side. If it is to your
right, take the elbow joint back against your
right inside thigh and gently press back on the
wrist until he gives in. See Figure 105.
H his little finger is to your left, take the
54
elbow against the inside of your left thigh and
press back on the wrist until he submits. If the
elbow is directly underneath, hold his wrist to
your chest and raise your stomach so that it is
pressi ng upon his elbow joint. Either of these
moves will produce instant submission.
2. Entangled A nnlock (Ude Garami)
Lie across your partner from bis right side to
hi s left , so that your weight is holding his chest
down. Bend his left arm upwards at the elbow
joint so that the upper arm is at right angles
to his body and the forearm is bent back towards
his head at an angle of approximately 45 degrees
to the upper arm. Put your left hand on his
wrist, fingers uppermost and keep your forearm
level and low down. Pass your right arm under
the upper part of his left and rest the hand on
your own left wri st , fingers uppermost. Keep
your elbow down and your arm level with the
ground. See Figure 106.
Now simply turn both your wrists gently down
towards the ground. The effect is to twist his
arm at the shoulder socket and he will submit.
3. Arm Crush (Ude Gatame)
This is one of the variations of the straigbt
arm lock. Kneel at the opponent's right side with
your left knee on the ground and your right
knee raised, toes under him. The lock is applied
when, from this position, he rai ses his left arm
to grasp your lapel. Clasp both your hands over
his elbow joint, turnjng it away from your own
body. Turn his body onto hi s right side and
kneel on it with your right knee to hold him
there. Press down on his wrist and hand with
your shoulder, and pull the elbow in towards
your chest. See Figure 107.
The moral of thi s armlock is never to reacb
up a straight arm to catch hold of an opponent
107
if he is in a position to control your body.
4. Knee Armlock (Biza Gatame)
This again is a straight armlock. Your partner
is between your legs and incautiously reaches out
a hand to grasp your collar as a preliminary,
perhaps, to strangling you. Suppose it is his
right arm. Catch his wrist with both your hands
and pull to keep the arm straight. If he is on his
knees, push his left knee away with your right
foot and roll to your right, so that you are on
yg.ur right side. Raise your left leg and bend it
at the knee. Place the knee on the back of his
elbow. Turn his wrist so that his little finger edge
is uppermost, so making sure that his elbow joint
is in contact with your knee. Now lift gently
' with your hands. See Figure 108.
5. Leg Armlock (Ashi Gatame)
Proceed exactly as for the previous armlock,
but instead of putting your knee against the back
of his elbow take your foot over his arm and
put it under his chin. Now, if you straighten
your leg and pull with your hands to keep his
arm straight, you will have the leg arm lock. See
Figure 109.
Both these arm locks illustrate the principle
that to get between your opponent's legs is to
put yourself in a weak position. On no account
reach out your arms to strangle him from this
108 position or you will be open to one of these
,-' ..... ..,.,.".. ..... ..,.,. armlocks. Get out from between his legs before
you do anything else.
If, of course, your partner reaches out both
hands and not just one, which is what would
normally happen, you can still apply these two
locks by concentrating on one arm only. Which-
ever arm you choose to apply the lock on, roll
the opposite way.
55
109
CHAPTER SIX
Groundwork: Strangleholds
Some judo strangleholds have as their object
constriction of the windpipe to restrict breath-
ing, while the purpose of others is to const rict
the carotid arteries and by so restricting the
How of blood to the brain to cause loss of
consciousness. We shaU make it clear which are
which in the course of the descriptions. As with
the arm locks, remember that these are extremely
dangerous and must be practised with great care,
and never applied with a jerk. If they are applied
seriously, loss of consciousness can ensue in from
anything from two to eight seconds, depending
upon tbe opponent's experience of resisting
them. So be prepared to let him go the instant
he gives in, which he will have to signify by
tapping since one cannot normally speak in these
locks. If he loses consciousness, let him go at
once. If you continue to hold after he has lost
consciousness, he will be dead in about five
seconds.
As with arm locks, successful application of
strangleholds depends upon your ability to con-
trol the movement of your opponent's body,
otherwise he may be able to twist out of tbem.
So, for those where you are on top, remember
to keep your full weight on him.
We are going to look at nine movements.
Most of them could be applied even if you were
in the underneath position on the ground, so it
is not necessarily the worst position to be in.
All of them could be applied against a standing
opponent but their use in this way, though not
forbidden , is not encouraged in judo contests.
Submission in a judo cont est would lose a point,
of course, and the other man would win, but do
not hesitate to submit if you are caught. It is
better to lose than be killed.
56
I. Normal Cross (Nami Juji Jime)
Kneel astride the partner, controlling him with
your knees pressed to his sides. Cross your arms
normally, that is with the palms down. Put the
thumbs inside his collar: the right thumb inside
his right collar, the left thumb inside his left
collar. Put them as far back as possible. Pull
with both hands towards your own body, parting
the elbows. See Figure 110.
This is one of the strangleholds that restricts
the flow of blood to the brain. The bony edges
of your arms dig into the sides of his neck. Do
not turn you r wrists to the position where the
fleshy part behind or in front of your arms is
agai nst his throat, as this will be less effective.
If you do not get almost instantaneous subm.is-
sian from this necklock, you are probably not
applying it correctly. Practise it more.
2. Reverse Cross (Gyaku Juji Jime)
This is the same as for the previous strangle-
hold except that, when you cross your arms, you
do so wi th the palms upwards and so insert your
fingers inside his collar, thumbs outside. See
Figure 111.
Again, it restricts the flow of blood to the
brain.
3. Half Cross (Kata Juji Jime)
This is a hold that constricts the windpipe.
Kneel astride your partner, keeping your knees
at his side to control him and sitting on his
stomach. Put your right thumb inside his right
collar just hehind his right ear. Turn your right
arm so that the bony edge on the little finger
side rests across the front of his throat, and
lower your elbow so that the arm is parallel to
the ground. With your left hand, catch his left
lapel just below the collar bone, fingers inside
thumb outside. See Figure 112.
llO
/
llZ
f
To apply the lock, pull with your left hand
on his lapel in a downwards direction relative to
his body and take your right elbow towards the
mat, bearing your weight on your right forearm
which is across his throat. It is a painful lock, so
be careful. Submission will be rapid.
4. Lateral Cross (Yoko Juji Jime)
III Take up the position of the reverse cross (no.
2 in this chapter). To relieve the pressure upon
him, the opponent may try to push your elbows
together. If he does, roll onto your right side
and right over onto your back, maintaining the
stranglehold and bringing him with you. He will
now be on top of you and between your legs.
Bend your knees and put your two feet in his
sides, just under his hip bones. Lift him off the
ground with your feet whilst continuing to apply
the stranglehold. He is now in such a weak
position that he cannot resist. See Figure 113.
5. Slidil1g Collar (Okuri Eri)
This stranglehold and the four which follow
are applied from behind the partner. To practise
them, let him sit up while you kneel on your
left knee directly behind him, with your right
foot up. In reality, of course, they could be
applied on the ground, whenever .he turned his
back to you or from a standing position if you
were behind the opponent. They are particularly
used against an opponent who is so incautious
as to get up with his back to you. Always, when
rising from the ground, you should face your
opponent and be ready to defend yourself.
From the practice position of kneeling behind
the partner, put your right arm round his neck
from the rear, that is over his right shoulder and
across the front of his neck. With the right hand,
grasp his left collar, thumb inside and fingers
out, well back behind his left ear. Pass your left
arm under his left armpit and catch his right
lapel at the level of his upper chest. Pull down
with your left hand towards the floor and back
with your right forearm, taking your right elbow
back. Be sure to bring him off balance to his
rear. See Figure 114.
57
113
114 116 117 115
118
I
The right wrist digs into the carotid artery on
his left and the tightened jacket prevents him
moving his head away from this pressure. It
restricts the flow of blood to the brain.
6. Single Wing Necklock (Kata Ha Jime)
This is similar to the last one. The right arm
passes over the opponent's right shoulder, across
the front of his throat, while the right hand
catches his left collar just behind his left ear,
thumb inside and fingers out as before. But the
left arm, having passed under his left armpit,
comes up over his left shoulder and across the
back of his neck. Some referees will not allow
you to use tbe left hand to push his head for-
wards, but the same effect is achieved by sli ding
the left forearm across the back of his neck, as
though sawing. Pull him off balance backwards.
See Figure j IS.
The neck is caught between the bony thumb-
side edge of the right arm in front and the bony
little finger-side edge of the left forearm behind.
It constricts the windpipe and may also have
effect on the left carat id artery as well.
7. Naked Necklock (Ushiro Jime)
This one is so called because it could be
GROUNDWORK: STRANGLEHOLDS
applied to an opponent who was not wearing a
jacket. From the practice position on one knee
behind him, pass your right arm over your
partner's right shoulder, with the forearm across
the front of his throat and the bony edge of the
thumb side in contact with hi s throat. Pass your
left hand over his left shoulder and, with fingers
uppermost and thumb underneath, catch your
own right wrist. The back of your right hand is
uppermost. Pull back on your right wrist with
your left hand to exert pressure against the front
of hi s throat. At the same time, put your right
shoulder behind his head and push it forwards
to prevent him relieving the pressure by bringing
his head back. See Figure j 16.
Tbis constricts the windpipe and is painful.
8. Necklock from Rear (Hadaka Jime)
Sometimes cal led the 'Japanese stranglehold',
this also could be applied against an opponent
who was not 'Ncaring a jacket. From the kneel-
ing position behind the partner, pass your right
arm over his right shoulder and imprison his
neck in the 'V' of your elbow joint by bending
your arm. Bend your left arm and put your right
hand in the 'V' of your left elbow, fingers upper-
most. Put your leFt hand on the back of his
head. See Figure 117.
The muscle of your right upper arm presses
against hi s right carotid artery, the bony edge of
the thumb side of your forea rm presses against
his left carotid artery, and your left hand pre-
vents him moving his head back to relieve these
pressures. The effect is to restrict the How of
blood to the brain.
9. Sleeve Wheel (Sode Guruma)
From the kneeling pOSItIOn behind the
opponent, pass your left arm over his right
shoulder and catch his left lapel , thumb inside,
fingers outside. Pass your right arm over the top
of your left and over his left shoulder, and catch
the same lapel (hi s left) about two inches above
your left hand hold, again witb thumb inside and
fingers out. Pull back with both hands so that
the bit of his lapel between your hands presses
against the Front of hi s throat. See Figure 118.
This has a double effecl. The jacket agai nst
your opponent's windpipe restricts his breathing,
while the bony edges of your forearms against
the sides of his neck restrict tbe flow of blood
to his brain.
59
CHAPTER SEVEN
Nage No Kala
Nage No Kata is a formal demonstration of
judo throws. Before proceeding to a detailed
study of it , a few words should be said about
katas in general.
KaLas are an attempt to preserve in their
purest forms the knowledge of techniques. One
man acts as the performer of the techniques. He
is called Tori. The other has the techniques
applied to him. He is called Uke. Uke gives Tori
the perfect opportunity to apply the technique,
and Tori's appli cation must be absolutely accurate
as regards timing, form, and complete control
of his partner. They work together in harmony,
striving between them to give a perfect demon-
stration of movements done under the most
favourable circumstances. Thus, by this ritual
performance, they preserve the knowledge of
the purest form of .the technique and the precise
moment at wh ich to apply it.
Kata is both the art and the science of judo.
It has al so been called the grammar of judo, and
a study of it can do much to improve one's con-
test ability, as it gives practice in perfect timing
and co':ordination of movements. To encourage
such a study, kata competilions are sometimes
held in conjunction with judo championships.
One or more katas are usually performed on
ceremonial occasions. such as the fe-opening of
the dojo after holidays. or at gradings, public
di splays. Or in honour of a distinguished visilor
to the dojo. They are usually performed by the
highest grades, as long practice wilh the partner
is essential before they can be attempted in
public. Nage No Kata and Katame No Kala
(dealt with in the next chapter) are part of the
required test for the black belt.
The sequence of movements that comprise the
kata is a complete ent ity. Everything must be
60
accurate, from the first bow to the distinguished
guests to the last bow. Every single movement,
every gesture, has its meaning and purpose.
There must be no unnecessary movements nor
anything that is not part of the kata. Between
movements partners must remain absolutely st ill.
Study of the throws and their precise moment
of execution will be of special interest to those
attracted by the scientific aspects of judo, since
they can work out bow maximum effect is
obtained with minimum effort. Similarly, those
to whom judo has an aesthetic appeal will find
in the controlled perfection of movements in
kata an art form akin to ballet.
Katas must be performed honestly. The throws
are generall y made in response to an attacking
movement by the partner, and that attack must
be genuine. Even in Kime No Kata, where some
of the attacks are made with dagger or sword,
it would be considered a disgrace to give a dis-
honest or faked performance of the kata.
Although katas were devised as a ritual to
preserve the ancient forms for all time, over the
years variations have crept in. One master wiIJ
teach one form, another a different one, but
always the same basic sequence will be followed.
To try and rationalise this si tuation, the Japanese
masters held a conference in the 1960s to try and
agree on a standard form of the various katas.
Not all the masters accept the version produced
by that conference, so all that any book can do
is to set out the basic form. If your part icular
teacher prefers a slightly different variation,
listen to him. He may well be just as right as
another teacher who has studied under a different
master.
It should be emphasised, however, that these
variations are minor. The basic sequence and the
basic approach are not in dispute. Such varia-
tions, indeed, are almost inevitable since any art
is subjective and one could well liken them to
the different readings of an orchestral score by
various conductors. The student can only listen
to all the masters he meets and even tually pro-
duce his own rendering. .
Nage No Kata, which was created by Pro-
fessor Jigoro Kana, who based it on his study of
the ancient techniques, consists of five sets of
throws, three in each set. The first set consists
of hand throws (Te Waza), the second of hip
throws (Koshi Waza), the third of foot tbrows
(Ashi Waza), the fourth of sacrifice throws in
which the thrower falls on his back (Masutemi
Waza), while the last set comprises sacrifice
throws in which the thrower falls on his side
(Yoko Sutemi Waza).
The honoured guests at the demonstration
will be seated togetber at one side of the mat,
their seat being known as the 'joseki'. As the
performance is in tbeir honour, it must be
directed towards them and even in practice the
performers will bow to the joseki and not turn
their backs to it unnecessarily.
Tori (the thrower) will stand to tbe left of
the joseld, as viewed by anyone seated in the
high seat, and Uke (the one who is thrown) will
stand to the right. They will stand for a rew
seconds absolutely upright and still, approxi-
mately twelve feet apart. Then, simultaneously,
they will turn approximately thirty degrees so
that they each face the joseki and bow to it.
Heels must be together, hands at sides, and
costumes impeccably arranged. See Figure 119.
They will then turn back to face each other
and bow. Both bows are normally made from
the standing position. See Figure 120.
Each then steps forwards one pace, left foot
first, then right , bringing their feet to the normal
distance apart , since they have been standing
heels together for the bow. See Figure 121.
From this point on, visualise a line drawn
between them. This is the axis of tbe kata. An
throws are done down this axis, first on the
normal side, then wit h the partners at opposite
ends on the opposite side, so that there are two
repet itions of each throw. Many throws involve
three steps being taken, each unbalancing Uke
a little more, with the throw on the third step.
119 120
121
NAGE NOKATA
All this will become clear as we proceed to the
details of throws. You are Tori, the thrower;
your partner is Uke, the man who is thrown.
SET ONE (HAND THROWS)
1. Uk; Otosh;
Walk normally towards your partner, straight
up tbe axis of the kata, until you are the right
distance from him for both of you to reach out
and take the normal holds. You must be upright,
looking him straight in the face, and making no
unnecessary movements, such as swinging the
arms. He must be perfectly still and relaxed.
When you are at the correct distance, pause a
moment.
Then, as you si multaneously take the normal
holds on each other, step back with your left
foot and bring your right nearly up to it, in the
Tsugi Ashi movement described in Chapter 1.
Uke follows your movements by advancing with
his right foot and brillging his left nearly up to
it, also with the Tsugi Ashi movement, so that
as you break his balance forwards with your
steps backwards, he recovers with his steps for-
wards. See Figure 122.
Repeat this move exactly, but this time step-
ping a little farther back and breaking your
partner' s balance a little more markedly. He
recovers by following your foot moves, as before.
Now repeat the move a tbird time, but on this
occasion step back a pace and a half with your
left foot and drop onto your left knee. Your
partner, being unable to recover from this un-
balancing, will somersault forwards if you pull
with both hands down towards your own left
belt. Note that when you kneel on your left
knee, your toes are in the mat. This is always
so when you are throwing and tbe instep is off
the mat, unlike when you are doing the kneeling
sal utation. See Figure 123 for the tbrow.
This form of Uki Ostoshi varies from that
described in Set Four, no. 8 of Tbe Gokyo, in
that the thrower is kneeling to perform it, but
in essence it is the same throw.
Your partner has landed behind you. He will
rise and go to your end of the kata. Get up and
follow him until you reach the distance where
you can take the usual holds. Tbis time, take
exactly the opposite holds; that is, catch hold of
his left sleeve with your right hand and his right
62
lapel with your left hand. When you step back
to perform the throw your first step is with your
right foot, he following with his left. Simply
reverse all tbe directions for the normal per-
formance of tbe throw and you will have the
way to do it on his left side.
It is important that wbenever you or your
partner turn round at the end of the kata axis,
or indeed anywhere else, you should turn towards
the joseki and not away from it.
2. Seo; Nage
The preceding movements have left you at
your right end of the kata axis, since the second
performance of Uki Otoshi took your partner
to his own end.
You now advance with normal steps to a
distance of six feet from your partner. You are
going to do the shoulder throw in response to
an attack by him.
He steps forwards with his left foot and takes
his right arm back behind him, ready to swing
up and over and to strike you on top of the skull
witb the base of his c1encbed fist. This blow is
one of the 'atemi', or blows at vital spots prac-
tised under the old ju-jitsu systems. It is the
bottom strike first (tettsui) of karate.
As he is advancing his left foot you must bear
in mind that, when he strikes, be will try to bring
his right foot forwards and past his left. His
moment of greatest weakness from tbe judo
point of view will be when his feet are in line,
as at tbat moment his balance can be broken
directly forwards. So, timing your movement to
correspond exactly with his, when you see bis
left foot advancing, advance your right diagonally
forwards and place it just inside the position
where his right is going to come. At the same
time rai se both your arms so that the blow, when
it comes, will pass between them. See Figure 124.
Your partner now strikes the blow, bringing
his right foot forwards as he does so, but tbe
blow passes over your right shoulder as ybu turn
and take your left foot back and around to a
position just inside his left. You then seize his
sleeve and jacket at the shoulder with left and
right hands respectively, and you are in a posi-
tion to do the shoulder tbrow, Seoi Nage,
described in Set One, no. 8, of The Gokyo. See
Figure 125.
You perform the throw, taking care to sup-
/
NAGE NOKATA
port your partner as be falls. He gets up and
goes to your end of the kata axis. You follow
to a distance of six feet and the throw is repeated
on the left-hand side, as before, tbus taking you
both to your own ends of the kat a axis.
It should be noted that all throws must be
executed directly along the line of the kata. The
parlner must not be thrown off at a tangent.
3. Kala Guruma
For the third throw, you come to the distance
where you can take the normal holds. You catch
simultaneously and as you retreat he advances,
in exactly the same movements as for the first
throw (Uki Otoshi). The first step is exactly the
same.
You repeat this step a second time, but as you
are doing so you must change your left hand
hold on bis right sleeve. Let go and, passing your
band under his arm, catch his sleeve on the
inside with your palm towards his arm, fingers
up and thumb down. See Figure 126.
Now wben you step back the third time with
your left foot, you leave the right behind and
pull your partner's arm up and forwards over
the back of your neck, as you insert your right
shoulder under his right bip. Let go with your
right hand and catch bis right trousers just
behind the knee from the inside, so that you are
in the position to perform Kata Guruma as
described in Set Three, no. 8, of The Gokyo.
See Figure 127.
Lift the partner onto your shoulders. See
Figure 128.
Turn to face down the line of the kata to
your own end as you throw, and support tbe
partner strongl y with a pull up on his right
sleeve. See Figure 129.
Go to the other end of the kata axis and
repeat the throw on the left-hand side, and this
will bring you both back to your own ends.
To mark this ending of the first set of throws,
there is now a slight pause. Standing at your
own ends of the kata, you turn your backs on
each other, but not on the joseki, and adjust
your judo suits. In theory, this is done simply
by grasping the bottom front corner of the
jacket, one flap in one hand and one in the
other, and pulling it straight. In practice, how-
ever, rather more re-arrangement of one's attire
is necessary, but it should be done with as little
64
fuss as possible.
When you are both ready, you turn simul-
taneously to face eacb other for the second set.
Ideally, you should know each other'S move-
ments and be able to time things so welJ tbat you
make a simultaneous turn without any signal
passing between you.
SET TWO (HIP THROWS)
I. Uki Goshi
As for the shoulder throw (the second one in
the last group), this throw is made in response
to an attempt by your partner to strike you on
top of the head with the bottom of his right fist.
You advance to a distance of about six feet
from him, whereupon he advances his left foot
and take his right arm back to strike. Again, his
position of greatest weakness is going to be when
his feet are in line, but this time you are going
to throw on his left-hand side.
As be advances his left foot you must advance
your left, stepping diagonally forwards and plac-
ing it just inside his left, and turning on it. You
must time this so tbat your act ions are simul-
taneous. Then, as he advances his right, you take
your right back and round in a small circle, and
place it just inside where his right is going to be.
His blow passes over your right shoulder. Your
left arm goes round his waist at the back and
your right hand catches the sleeve of his left
arm which he has held slightly forwards for that
purpose. See Figure 130.
You are now in a position to do Uki Goshi,
the floating loin throw, described in Set One, no.
4, of The Gokyo, though remember that you are
doing it on his left-hand side, not on his right
as described in The Gokyo.
When he has been thrown, he gets up and
goes to your end of the kata axis. You follow
and stand at a distance of six feet, ready for the
repetition on the other side which will bring you
back to your own ends.
2. H arai Goshi
This throw is one of those performed from the
three-step movement, like the first throw in the
first set (Uki Otoshi). Your first movements
therefore are exactly the same. You advance to
distance for taking normal holds, take hold and
move, so breaking his balance forwards.
Now, on the second repeat , you cbange your
1
128
127
126
''''-
130 132 133 131
right hand hold by letting go of his left lapel
and passing your right arm under his left armpit
and behind his back, resting the flat of the hand
on hls right shoulder blade. See Figure 13J.
Your third step is as follows. Take your left
foot back very quickly and around bebind you in
a small circle, and place it just inside his left
foot. Turn your back on him at tbe same time.
Now, as be advances his right foot, your right
sweeps it away and you throw him with tbe
sweeping hip throw (Harai Goshi) as described
in Set Two, no. 7, of Tbe Gokyo. See Figure
132.
You will see that the third step with your
left foot back and around bas to be made very
quickly indeed, since you have to do it and sweep
with your righ t in tbe time that your partner is
advancing his right. You must catcb him in his
advance.
Again the throw is repeated on the other side,
taking you to your own ends of the kata.
3. Tsurikomi Goshi
Thls is another of tbe three-step moves.
Advance and take the normal balds. Take the
first step as in Uki Otoshi. On the second step,
you change your Tight hand hold by taking it
further up his left lapel and onto bis left collar.
See Figure 133.
On the third step, you take your left foot back
and round in a small circle, turning your back
on your partner and bringing your right foot to
just inside his right, so' that you are in a position
to perform a Goshi on him (Set One, no. 6, of
The Gokyo). See Figure 134.
He must be clearly seen to resist this attempt
by straightening up and thrusting his stomach
forwards. To counter this, you bend your knees
much more so that your hips are in contact with
his front thigbs and you are able to perform the
resisting hip throw (Tsurikomi Goshi) as des-
cribed in Set Two, no. 4, of The Gokyo. See
Figure 135.
As usual , the throw is repeated on the opposite
side from the other end of the kata axis, bring-
ing you back to your own ends.
This marks the end of t h ~ second set, so again
there is a pause during which you simultaneously
turn your backs to each other, adjust your
jackets, and then turn to face each other again.
NAGENOKATA
SET THREE (FOOT THROWS)
1. Okuri Ashi Barai
You both advance to the centre of the kata
and as you take the normal holds you both turn
to a position on either side of the axis. YOll tUfn
by stepping forwards with your left foot and
bringing your right into line. Your partner, who
has done the same, now has bis back to the
joseki, while you are facing it. As you turn, you
take the normal holds on each other. See Figure
136.
Now, moving in unison, you both take three
rapid steps, you to your right, he to his left. He
begins with his left foot and you move your
Tight in time with it. He brings his right foot up
to it and, as he does so, you slightly unbalance
bim to hi s right side by lifting with your right
hand on his lapel and pulling down slightly witb
your left on his sleeve. On the first two of these
steps, you simply move your left foot up in time
with hi s right, but on the third step you use this
left to sweep hi s right into his left, strengthening
the lift with your right hand and the pull-down
with your right so that you throw him with
Okuri Ashi Barai (the double ankle sweep)
described in Set Two, no. 5, of The Gokyo. See
Figure 137.
You are really floating him onto his toes in the
first two steps, and sweeping on the third. When
he falls, he gets up in exactly that spot. You
take the opposite holds and tbis time he moves
to his right and you to your left, so that you
repeat the throw on the other side.
2. Sasae Tsurikomi Ashi
This again is one of the three-step throws, like
Uki Otoshi.
Come in to normal holds distance. Catch and
move exactly as for the first throw in the first
set. Unbalance your partner as you move with a
slight lift-pull action of your left hand. See
Figure 138.
Repeat thi s for the second step. On your
second step back with your right foot , however,
you prolong it by taking it back beyond your
left and out to the side, to point diagonally at an
angle of 45 degrees towards your partner, so
that when be advances his right for the third
time you will be in a position to put your left
sale in the way and throw him with the propping
drawing ankle throw (Sasae Tsurikomi Ashi), as
67
138 140 141 139
142
NAGE NO KATA
described in Set One, no. 3, of The Gokyo. See
Figure 139.
When he gets up, you follow him to the other
end of the kata, throw on the opposite side, and
so get back to your right ends of the kata axis.
3. Uchi Mala
Advance together un-til you meet in the centre
of the kata axis. Take the normal holds, but
with your right hand a little higher on his left
lapel.
As the steps are apt to sound complicated, it
will be simpler if you first think of the effect you
are aiming at. You are going to take six small
steps, beginning with the left foot , all forwards,
but slightly turning all the time to your right,
so that on your fifth you are facing your own
end of the kata axis and ready to throw with
your right foot against his left inner thigh. In
the process of th is stepping, you will have des-
c r i b e ~ an about-turn. Your partner, on the other
hand, is going to take very large steps around
the outside of you, beginning with his !eft, so
that he goes completely round you and is facing
the same way at the end as he was at the begin-
ning. He has, in other words, simply moved
around you in a circle.
It is done in this way. Pull him with your right
hand on his left upper lapel, to make him take
his first big step with his left. At the same time
take your first small step with your left, partly
turning. See Figure 140.
Now move your right foot up to your left, as
he brings his right up to his left.
Again, pull with your right hand as you take
your third step, which is a little one forwards
with your left. His third is a big one around you
with his left. Again, your fourth is to close up
your right and hi s fourth is to close up his right.
Your fifth step with your left, and his large
fifth round you, put you both in such a position
that when he takes his sixth, you do not take it
but use your right leg to sweep the inner side
of his left thigh, throwing him with the inner
thigh throw (Uchi Mata), as described in Set
Two, no. 8, of The Gokyo. See Figure 141.
He rises where he is, facing towards his end
of the kata axis, and you, of course, are facing
yours. You repeat the throw on the other side
by rever3i ng all directions and this brings you
both back to your own ends of the kata.
As this is the end of a set, you again turn
your backs to each other, pause, adjust your
jackets, and turn back to face each other.
SET FOUR (SACRIFICE THROWS FALLING ON YOUR
BACK)
I. Tomoe Nage
Advance together until you meet in the centre
of the kata. Take the normal holds.
You push your partner backwards by walking
forwards normally, beginning with your right
foot. He retreats from your push, walking
normally and starting by taking his left foot
back.
143
On your fourth step forwards, which will be
with your left, you put it uoeply in between his
legs, fallon your back, and bring your right foot
up into his stomach for the stomach throw
(Tomoe Nage), as described in Set Three, no. 7,
of The Gokyo. See Figure 142.
It will be noted that he has retreated first on
his left, then his right, so that his fourth step
back would be with his right. For hi s fifth, he
immediately brings his right forwards again to
your left side, so that he can do the right rolling
breakfall over you.
As you go down to perform the stomach
throw it is considered better to change your
left-hand hold on his sleeve to one on his right
lapel that corresponds with your right hand hold
on his left lapel.
When he is thrown, he does not remain on
the ground but uses the impetus of his roll to
come straight back up onto his feet. See Figure
143.
You get up facing him. He turns round. You
come to the centre of the kata axis again and
repeat on the other side.
2. Ura Nage
This is a th.row for countering an attempt by
your partner to strike you on top of the head
with the bottom of his fist , as in Seoi Nage.
You come to a distance of six feet from bim,
he advances his left foot and swings back hi s
right arm for the strike. You move your head
to your right so that the blow passes over your
left shoulder, step in with your left foot beh ind
him, catch him around the back at belt level
with your left arm and put your right hand in
his stomacb, your right elbow resting on your
right hip. See Figure 144.
You are now in a position to do Ura Nage
(tbe rear throw), as described in Set Five, no. 6,
of The Gokyo. Lift him clear of tbe ground, fall
on your back and throw him over your left
shoulder. He does the right forwards rolling
breakfall and lies where he has fallen. See
Figure 145.
Repeat from the opposite ends of the kata
axis on the other side, to bring you back to your
own ends of the kata.
3. Sumi Oaeshi
You advance to normal holding distance and
tben both of you assume a deep crouching stance,
NAGENOKATA
legs wide apart, knees bent. Your left hand and
his left take normal holds on the sleeves. But
each of you thrusts his right under the other's
left armpit, to hold around the back.
Your first step is to retreat with your left foot.
Your partner follows with his right. See Figure
146.
You then take your right foot back, and he
follows with h is left.
For your third step, you take your left foot
in to a point midway between hi s legs as he
advances his right foot. You fall on your back
and put your right instep against the inside of
his left knee, so that you are in a position to
throw him with the corner throw (Sumi Gaeshi),
as described in Set Four, no. I , of The Gokyo.
See Figure 147.
He lands with a right forwards rolling break-
fall and remains lying. You then get up together,
go to the ot her end of the kata axis, repeat on
the other side, and so get back to your normal
ends.
This is the end of the fourth set, so again you
go to your respective ends, turn your backs to
eacb other, adjust your jackets, pause, and turn
to face each other.
SET FIVE (SACRIFICE THROWS FALLING ON YOUR
SIDE)
1. Yoko Oake
This is one of the three-step throws. Come in
to normal di stance, take the normal holds, and
move backwards wi th your left, your partner
following with bis right. On the first steps you
turn him slightly to his left by pushing his right
sleeve across his body. See Figure 148.
On your second step back with your left foot
you turn him a little more. See Figure 149.
On your third step, you do not actually take
the step but apply your left foot to his outer
right ankle and fall , pulling down with your left
hand and lurning him with your right onto his
back in the side body drop (Yoko Gake) as
described in Set Five, no. 8, of The Gokyo. See
Figure 150.
Repeat on the opposite side, so returning to
your own ends of the kata.
2. Yoko Ouruma
The start of this is almost exactly as for Ura
Nage (Set Four, no. 2, of this kata). But when
71
145
148
150
149
151
NAGE NOKATA
you come up to him, you both move to a position
facing each other across the line of the kata, he
with his back to the joseki, you facing it. You
should make this move in two steps, left right,
and simultaneously. You are at a. distance of six
feet. See Figure 151.
He now steps forwards with his left foot and
goes to strike you with his right hand, as in Ura
Nage. You dodge the blow and move in to where
you can pick him up for Ura Nage. See Figure
152.
To avoid your Ura Nage, your partner now
bends his body directly forwards to the front.
You come around him and slide your right leg
between his legs, pulling with your left hand and
pushing with your right, so as to throw him with
the side wheel (Yoko Guruma) as described in
Set Five, no. 4, of The Gokyo. See Figure 153.
After doing his right forwards rolling break-
fall he lies where he bas fallen for a few
moments and you then get up together. You go
to the other end of the kata, take position across'
the axis of the kata and repeat on the other side.
This brings you to your own end of the kata again.
152
3. Uki Waza
This is a throw from the crouching posture,
like Sumi Gaeshi.
Come in to normal holding distance, and take
up the deep crouch, knees bent, legs wide apart.
Each of you keeps the same hold with left hand
on the sleeve, but with your right you catch
your opponent behind and under his left armpit.
See Figure 154.
You step back with your left foot, he follows
with his right. You step back with your right,
he follows with his left.
153
154
155
Now stretch your left foot widely to your left
side and faU on your left side, your right foot
on the ground. Let him disengage his right arm
from your left hold on his sleeve, so that be can
use it to breakfaU. Throw him with the floating
throw (Uki Waza) as described in Set Five, no.
2, of The Gokyo. See Figure 155.
NAGE NO KATA
He remains where be has faUen until you both
get up together, go to the opposite ends of the
kata, and repeat on the opposite side. You are
now at the right ends of the kata. You turn your
backs on each other and adjust your jackets.
This is not only the end of the set but also the
end of the kata and your attire must be impecc-
ably arranged for the bow.
When you have turned to face each other, you
both step back, right , left, so that your heels are
brought together.
You make the standing bow to each other.
Then, turning to face the joseki, you make the
standing bow to the distinguished guests.
It should again be emphasised that every
single detail must be correct in this sequence of
movements. The slightest unnecessary movement,
wrong turn or extra step, would count as a fault.
And probably every black belt in the audience
would noti ce those fault s. Such perfection comes
only wi th long pract ice between partners who
have learnt to work in complete harmony.
75
CHAPTER EIGHT
Katarne No Kata
Katame No Kata is tbe formal demonstration
of groundwork movements. Again, it was created
by Professor Jigoro Kana from a study of the
ancient movements and dates from his day.
The techniques in this kata are grouped into
three sets of five movements in each set. The
first set consists of holdings (Osaekomi Waza);
the second set of strangleholds (Shime Waza);
and the third set of four arrnlocks and one leg-
lock (Kansetsu Waza).
As with Nage No Kata, every detail must be
accurate and there must be no unnecessary
movement. The entire procedure is performed
witb dignity and respect.
The man who does the movements is again
called Tori; the one to whom it is done is called
Uke .
. Tori and Uke wiII again take up the positions,
about twelve feet apart, Tori to the left of the
joseki and Uke to the right, as viewed from the
joseki. They will stand silent, still and respectful
for a moment , before simultaneously making tbe
thirty degree turn to face the joseki, and to bow.
See Figu re 156.
They step forwards a pace left, right, to open
their feet, then take up the high kneeling posi-
tion (Tate Kyoshi No Kamae). To do this, they
kneel on the left knee and turn the rigbt foot
to point outwards. See Figure 157.
Note that in this high kneeling position the
toes of the left foot are dug into the mat. This
is always the case in a fighting position and it is
only when bowing that the toes are stretched
out and the insteps are in contact with tbe mat.
The right hand rest s on the right knee.
From the high kneeling position, each will
drop onto his right knee, stretch his toes out
and, crossing the big toes, make the kneeling
76
salutation as described in Chapter I. See Figure
158.
Having made the bow, they return to the high
kneeling position.
Now we come to tbe kata movements. You
are Tori; your partner is Uke. Imagine, again, a
straight line between you. Tbis is tbe axis of tbe
kata. Your partner must always lie along the
axis for your demonstration.
To get down, he places both hands on the
ground in front of him, takes his rigbt foot
under his arms, between them and his left knee
which is on the mat, and so turns onto his back.
He tben lies flat along the axis of the kata, left
knee up with the foot on the floor, right leg
extended. See Figure 159.
Wbilst he is doing this, you remain in the high
kneeling position. All is now ready for tbe first
demonstration.
SET ONE (HOLDINGS)
1. KesQ Gatanze
Stand up. Turn to your right. Take three
steps. Turn left ninety degrees and walk down
to your partner's side, but tbree paces away from
him. Turn to face bim and drop into the high
kneeling position. See Figure 160.
Advance on your left knee and right foot the
three paces that bring you to his side. This is a
difficult movement and can only be dono. with
practjce. When you reach' him" pick up his right
arm With your left holding hi s outer sleeve and
your right his inner sleeve. See Figure 161.
Put your right knee under his right armpit
and his right arm under your left, trapping it
there, and drop into the scarf hold (Kesa
Gatame), as described in the chapter on holdings
(Chapter 4, no. I). Wben you take this holding
156 157
158 159
KATAME NO KATA
in your kata form, your right hand passes under
his left armpit and holds his left shoulder to
the ground. When you have taken up tbis posi-
tion, be definitely seen to relax on him, so that
he and the audience know you bave got it. See
Figure 162.
He will then try to get away by grasping your
belt with his left hand and bridging, trying
to buck you off over his left shoulder. This
manoeuvre fails and he submits by tapping with
his left hand.
2. Kala Gatame
Kneel at his side in the high kneeling position,
without going out. Pick up his right wrist in your
right hand and, by pushing on the elbow with
your left, take it across his throat. See Figure
163.
Pass your right arm under his neck from his
left side, catch the hand in your left, thrust
your right knee under his right armpit, extend
your left leg, and drop into the shoulder hold
(Kata Gatame) as described in Chapter 4, no. 2.
See Figure 164.
He will try to get away, first by bridging and
trying to turn to his left, then by trying to push
his right arm against the side of your neck with
his left and so create a gap. Each time, you
tighten your hold so that he is forced to submit
by tapping .with his left hand.
3. Kami Shiho Gatame
Take the high kneeling position at his side.
Retreat the three steps on your left knee and
right foot. Stand up. Turn at right angles to your
left. Walk parallel to and as far as the end of
the axis of the kata. Turn right and take the
three steps tbat bring you directly behind your
partner. Drop into the high kneeling position
there. See Figure 165.
Advance on your left knee and right foot
until you are directly behind his head in the
high kneeling position. Ideally, you should do
this in tbree steps. See Figure 166.
Pass both your hands under his shoulders
and grasp his belt on either side. Put your right
cheek on his stomach. Lower yourself on your
right knee and spread your knees apart. Relax
on him in the upper four quarters hold (Kami
Shiho Gatame) as described in Chapter 4, no. 4).
See Figure 167.
77
l
)
L:;;;; .J ~
- ; . . . . - ~ . ~ ~
160
162
165
166
168
KATAME NO KATA
He will catch your belt with both hands and
bridge, trying to turn to left and to right, but it
will be in vain. He will submit by tapping with
his left hand. .
4. Yoko Shiho Gatame
Return to the high kneeling posItIOn directly
behind your partner's head. Go back on left
knee and right foot to your end of the kata ax.is.
Stand up and turn to your right; take three steps,
turn left, walk down to the side of your partner,
167 turn to face him and drop into the higb kneeling
position, but three paces away as for tbe first
movement. See Figure 168.
Approach to his side, with the three steps on
left knee and right foot. Pick up his left knee
in your left hand and th rust your right arm
between his legs. See Figure 169 . .
Grasp his belt with your right hand. Pass your
left under his head from his right side and hold
his left shoulder to the ground. Drop into the
side four quarters hold as described in Chapter
4, no. 3. See Figure 170.
He has his right hand under your stomach
and with his left he catches your belt at the back
in an attempt to swing you off. On failing to do
so, he submits by tapping.
Take the high kneeling position at his si de. Go
back three steps on left knee and right foot.
Stand up, turn left and go back to the end of tbe
kata axis; turn right and gO in the three steps
that will take you directly behind your partner;
face him and take the high kneeling position.
5. Kuzure Kami Shiho Gatame
Approach with the three steps on left knee
and right foot until you are directly behind his
head. Pick up his right arm in your left and pass
it under your right. With your right hand catcb
his collar at the back of his neck. Do all this
slowly, so that your precise .actions can be
clearly seen. See Figure 171.
Put your left arm under his left shoulder,
catch his belt, and pull him to the ground.
Drop onto your right knee and spread your
169 knees. Put your right cheek on his stomach and
lower yourself into the broken upper four
quarters (Kuzure Kami Shiho Gatame), as des-
cribed in Chapter 4, no. 5). See Figure 172.
He catches your belt wi th his left hand and
tries to roll you to the left but, on failing, sub-
mits by tapping.
79
KATAME NO KATA
You take up the high kneeling position, re-
treat on left knee and right foot to your end of
the kat a axis and, since it is the end of a set,
you wait there.
He gets up in exactly the opposite way to that
in which he got down, ie, by rolling to his
right, putting both hands on the ground, bring-
ing his right leg between his hands and his left,
and rising to the bigh kneeling position.
You are both facing each other now in the
high kneeling position at your respective ends of
the kata axis. You pause to adjust your jackets
in readiness for the next set.
SET TWO (STRANGLEHOLDS)
1. Kala luii lime
He gets down onto hi s back, exactly as before.
You stand up, take three steps to your right,
turn and walk to his right side, but three paces
away, drop into the high kneeling position and
approach those three paces on left knee and
righ t foot , exactly as before. You are now in
the high kneeling position at his right side.
Pick up his right arm in both your hands and
lay it on the ground at right angles to his body.
Slide your left knee in to make the closest pos-
sible contact with his right side. Now swing your
right leg across him, spreading his left arm out
at right angles to his body as you do so by push-
ing it with your right hand from under the
elbow joint. Kneel astride him. See Figure 173.
With your left band, grasp his left lapel,
thumb inside, fingers out, and apply the bony
edge of your left forearm (little finger edge)
against his throat. With your right hand catch
his right lapel and pull down. You are now
applying the balf cross (Kata Juji Jime) on the
opposite side to that described in Chapter 6, no. 172
3. See Figure 174.
He tries to bend forwards to stop the strangu-
lation, but you take your head to tbe ground
over his right shoulder and he will submit by
tapping.
You come back to the bigh kneeling position
astride him and retreat down his legs by steps,
moving on your left knee and right foot. When
you are clear of his body, you stand up, turn
left, walk tbree paces, then turn right and walk
parallel to the axis of the kata to your own end.
80
173
\
l
174 176 177 175
KATAME NO KATA
You then turn right and walk three paces, finally
turning to face your partner and dropping into
the high kneeling position.
He now sits up. with hi s lefi knee up and his
right leg extended. You approach him on left
knee and right foot until you are close behind
him. Ideally, this should be done in three steps.
2. Hadaka lime
Pass your right arm over his right shoulder
and across the front of his throat, the bony edge
of the thumb side against his throat, Put the
palm in the crook of your left elbow and your
left palm agai nst the back of his neck. Retreat
your left knee half a pace to bring him off
balance backwards, and you can then apply the
neck lock from rear, as described in Chapter 6,
no. 8. See Figure 175.
Sometimes the naked necklock (Ushiro Jime)
as described in Chapter 6, no. 7, is applied
instead.
In either case he tries to relieve pressure by
seizing your right sleeve with both hands and
pulling forwards and downwards. It is ineffective,
and he submits by tapping.
3. Oku,.i ,.i
Let him go, but stay in the same position.
Bring your left knee back the half pace. Pull his
'left lapel down with your left hand, your left arm
goi ng under his left armpit. Pass your right hand
over his right shoulder and catch his left lapel
well up behind his ear. See Figure 176.
Now pass your left arm under his left armpit
and catch his right lapel. Pull it down as you
take your right elbow back. Retreat the half
pace on your left knee to take him off balance
backwards and you arc applying the sliding collar
(Okuri Eri), as described in Chapter 6, no. 5.
See Figure 177.
He will try to escape by pulling your right
sleeve with both hands, but when it fails he will
submit by tapping. Bring your left knee back the
half pace, let him go, and remain where you are.
4. Kala Ha Jime
Again you pass your left arm under hi s left
armpit and pull his left lapel down. You pass
your right arm over his right shoulder and catch
his left lapel well back behind his ear, just as
though you were going to repeat Okuri Eri. At
thi s point he raises hi s left arm and tries to seize
your head. See Figure 178.
82
Instantly, sli de your left arm across the back
of his neck and take the balf pace back with
your left knee to unbalance him. This is the
single wing neck lock (Kata ifa Jime), as
described in Chapter 6, no. 6. See Figure 179.
He tries to escape by pulling your right sleeve
with his right hand, but it is unsuccessful and
when he submit s you let him go.
You now retreat three paces on left knee and
right foot to your position at the end of the kata
axis. He lies on his back, left knee up, right
foot extended. You rise, turn right, take three
steps, turn left, and walk to the side of your
partner, standing three paces away from him.
You then turn to face him and drop into tbe
high kneeling position.
5. Gyaku Juji Jime
Approach the three steps on left knee and
right foot. Pick up bis right arm in both yours
and place it at right angles to his body. Bring
your left knee close against his right side. Swing
your right leg across him and kneel, spreading
his left arm as you do 50, all just as in the first
movement of this set.
You are now kneeling astride him, knees close
to bi s sides. Cross your arms and catch his coll ar
on either side, fingers in, thumbs out, and apply
the reverse cross (Gyaku Juji Jime) as described
in Chapter 6, no. 2. See Figure 180.
If your right arm is over your left, he applies
hi s left hand to your right elbow and his right
hand to your left, and roll s you over to his right.
You go with him, bringing him with you so that
you are underneath. Apply your feet to his body,
just under the hips, as you continue to strangle
in the lateral cross (Yoko Juji Jime), as described
in Chapter 6, no. 4. See Figure 181.
He will submit. Roll him back over to the
original position, with you astride him. Move
down his body on left knee and right foot until
you are clear of him. Stand up, turn left, and
take three paces. Turn right and walk parallel
to the axis of the kat a to your own end. Turn
right and move in the three steps that take you
directly behind him. Turn to face bim and kneel
in the high kneeling position. Wait there.
As this is the end of tbe set, he also gets up
to the high kneeling position, exactly as pre-
viously described. You adjust your jackets and
there is a pause to indicate the end of a set.
KATAME NO KATA
SET THREE (ARM AND LEG LOCKS)
He gets down onto his back as before.
I. Ude Garami
You rise and. as in the first move, come to his
right side in the high kneeling position.
He reaches up his left arm, intending to grab
your right lape\. See Figure 182.
Catch his left wrist with your left hand and
take it to the floor, his upper arm being out at
right angles to his body and his forearm bent
back towards his head. Drop onto your right
knee, lie across him, and pass your right arm
under his left upper arm to grasp your own left
wrist, with fingers uppermost. Bend both wrists
to the ground and you will be doing the en-
tangled arm lock (Ude Gararni) as described in
Chapter 5, no. 2. See Figure 183.
Extend your right leg and keep your left knee
up against him. He wiU try to raise his stomach
and bend back to relieve the pressure, but your
weight will hold him down and he will give in
by tapping.
Return to the high kneeling position at his
right side, without going out.
2. Ude Hishigi luji Galame
He puts his left arm back beside his body, and
this time he raises his right ann to try and grasp
your left lape\. See Figure 184.
You will see that by this move he is turning
his elbow joint towards you. Catch his wrist with
both hands, put your right shin close against his
right side, lift your left leg and take it across
his throat, putting the foot on the ground the
other side of him, and fall back. Keep your
knees togelher, hold his wrist to your chest and
slightly raise your stomach. You will be doing
the cross armlock (Juji Gatame) in the third
variation of it, as described in Chapter 5, no. I.
See Figure 185.
He arches his body and tries to bend back to
relieve pressure, but it is useless and he taps in
surrender with his left hand.
Return to the high kneeling position at his
right side, without going out.
3. Ude Hishigi Ude Galarne
With both hands, move his right arm to your
left side, that is out at right angles to his body.
He now turns slightly on his right side and
reaches up with his left arm to try and grasp
your right lape\. See Figure 186.
84
182
183
-
~
184
Press your right knee against his left side.
Clasp your hands over his elbow joint, turning
it away from your body, and pull the joint in
towards your chest. Press down on his wrist with
your right shoulder. You will be doing the arm
crush (Ude Gatame) as described in Chapter 5,
no. 3. See Figure 187.
He will give in without a struggle, and indicate
this by tapping. Take up the high kneeling posi-
tion at his side and from there back out as
normally, stand up and return as usual to your
end of the kata axis. Take the high kneeling
position and he will get up to the same position
as if the kata had ended.
4. Ude Hishigi Hiza Galame
Approach each other on left knee and right
foot unti l you are near enough to take the
normal holds on each other, ie, on sleeve and
lapel , as if you were standing up. See Figure 188.
Let go his right sleeve with your left hand
and, putting your arm over his wrist and your
hand under his arm, grasp the upper part of his
sleeve from above. The effect of this is to trap
his right wrist under your left armpit. Apply
your right fOOL to his left thigh, on which he is
kneeling. See Figure 189.
Push with your right foot to take hinl down,
turn on your right side and bring your left knee
up onto his right elbow joint so that you can
apply the knee armlock (Hiza Gatame) as des-
cribed in Chapter 5, no. 4. See Figure 190.
He taps with his foot to give in.
5. Ashi Garami
After his submission, take the high kneeling
position and he will do the same. You both then
retreat on left knee and right foot until you are
six feet apart. Then you both stand up. Move
close enough to take the normal holds, beginning
with the left foot.
You now slide your left foot between his legs,
raise your right leg and put it in his stomach, as
though you were going to perform the stomach
throw (Tornoe Nage). See Figure 191.
To avoid this move, he will step well forwards
with his right leg, to your left side. Take your
left leg around thi s from the outside and put
your left foot in his right groin. See Figure 192.
Now, with your right leg push his left away
at the knee so that he falls onto his left knee.
Push your left strongly through in front of his
185
186
187
--
188
190
I
-)
abdomen and you will have a painful lock on 191
his right leg. See Figure 193.
He will tap in surrender and you let him go.
189 Take the high kneeling position, as at the
beginning of the kata. Drop onto your right
knees together and make the kneeling bow to
each other. Rise and, turning simultaneously to
the joseki, make the standing bow.
This concludes the kata.
It should be emphasised that the leg lock just
described is absolutely banned in competition or
in randori.
192
193
CHAPTER NINE
Kime No Kata
Kime No Kata is a kata of self-defence move-
ments. It is sometimes call ed Shinken Shobu No
Kata, or forms of real fighting. There are two
divisions. The first set consists of eight move-
ments and is called Idori. These are all performed
in a kneeling position. The second set is called
Tachiai and consists of twelve movements per-
formed in a standing position.
Some of the movements use the sword, which
is the long samurai two-handed sword. Others
use the dagger, a shorter and more personal
weapon. Before practising with either of these
weapons, which are razor sharp, learn the move-
ments thoroughly with imitation weapons. For
when the kat a has been mastered and is per-
formed in earnest the attacks must be real and
you must be able to get out of the way.
Tori is on the left of the joseki and Uke on
the right as before, as viewed from the joseki.
Uk. holds the two weapons in bis right hand at
this stage. He will transfer them to his left side
only when he is going to use them. He holds
the dagger on lap, the sword underneath, with
the guards in front and on top, the points behind
him and hangi ng down.
They begin twelve feet apart, with the usual
standi ng salutation to the joseki. See Figure 194.
They then take the high kneeli ng position as
described in the last chapter and Uke lays down
his weapons by hi s right side, parallel to the axis
of the kata, with the guards to the front and the
poi nts behind him. The sword is laid on the out-
side, the dagger on the inside. The curve of the
blade is in towards him. They then lower their
right knees simultaneously and make the formal
kneeling bow to each other. See Figure 195.
They now resume the high kneeling position
and while Tori retains thi s, Uke pi cks up his
weapons in his right hand, stann.s up, turns
aboul. goes to the end of the kata axis, kneels
and lays down his sword and dagger. Note that
when he kneels to do this, as when he bows, his
toes are extended and not dug into the mal. See
Figure 196.
Again the sword is placed outside at right
angles to the axis of the kata, and the dagger
inside with the guards towards the joseki and
the points away from it. Again, the curve of the
blade is towards Uke.
Having ceremoniously laid his weapons down,
Uke takes the high kneeling posi tion and both
he and Tori then rise together. He turns to face
Tori and they advance until they are about three
feet apart. Then both assume first the high
kneel ing position, then the kneeling position, on
both knees. Their toes are st ill extended at this
point. Both place their clenched fists on the
ground, just inside their knees and, taking sup-
port on these, they advance on their knees until
they are about six inches apart. See Figure 197.
They are now in position for the first set of
movements, Idori.
A word should perhaps be said bere about this
seated position, as it appears rather artificial to
western eyes. It was the normal seated position
of the Japanese in older days when houses did
not have chairs and people sat on cushions on
the fioor. It would therefore be as natural a
posture as sitting in a chair to a Westerner.
Practice of it, as in this kata, strengthens tbe
ankle joints and makes tbem more supple, so
that it is a beneficial exercise in itself.
There should be a brief pause at this moment,
and the two partners should take a few deep
breaths to concentrate their attention on what
they are about to do.
87
KIMENOKATA
From this point on we will again assume that
you are Tori (the man who does the demonstra-
tion), and your partner is Uke (the one to whom
it is done). However, in this kata Uke is going
to take the initiative every time and your action
will be the response to his attack on you.
SET ONE (ATTACKS IN KNEELING POSITION)
1. Ryole Dori (Wrists Held with Both Hands)
Your partner comes up onto his toes, toes dug
into the mat, and seizes your right wrist in his
left hand and your left wrist in his right hand.
See Figure 198.
You take support on your left knee, dig your
left toes into the mat, part your arms slightly
so as to disturb his balance forwards and, raising
the right foot bent at the knee, you deliver a
kick to his solar plexus with the ball of your
right foot. This is one of the atemi-waza, or
blows at vital points of the old ju-jitsu schools.
Be careful, of course, not to actually land it in
the demonstration but to stop just short of the
target. See Figure 199.
The kick is accompanied by what is called the
'kiai'. This is a shout, emanating from the lower
abdomen which could startle an opponent who
was not expecting it. It is really a sharp expul-
sion of breath and concentrates the force of your
counter-attack, rather as karate men shout when
they strike. The actual sound is 'Ee-itt' and this
shout accompanies each counter-attack in this
kata.
Having delivered the kick, you replace your -
right knee on the floor with toes dug into the
mat , rise on your left foot and turn to your left.
You free your left hand from your partner's grip
by pulling it out against his thumb, which is the
weakest point. Catch his left wrist with both
hands and pull his arm straight, trapping it
under your right arm. Bear down on his elbow 196
joint with your right upper arm and shoulder.
This is a variant of the straight armlock. See
Figure 200.
Your partner will submit by tapping with his
right hand. Return to the kneeling position wit h
toes extended, but about a foot apart.
2. Tsuki Kake (Stomach Punch)
Your partner comes up onto his toes, toes dug
into the mat, raises his body and tries to punch
you in the solar plexus with a straight right-hand
88
,
--';'=""---'-'j --
197
198 200 201
199
.,
a
202
j
,J
/ ,
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206
208 209 207
KIMENOKATA
punch. To avoid the punch, you pivot on your
left knee, digging your toes in and raising yOUT
h.ips, and take your right foot back around
behind you, so that you aTe facing parallel to
the axis of the kata. This takes you out of the
way of the punch as it is following the axis line
of the kata and your tum has placed you just
behind this line. As you do this, you come up
on the right foot, right knee raised.
Now, as you are doing this turn, you must
catch your partner's right wrist with your left
hand, the fingers towards you, the thumb the
other side, and with your right fist strike him
between the eyes. Your left-hand pull on his
wrist forwards and the impetus of his own punch
are pulling him onto this punch of yours, wh.ich
is deli vered to the accompaniment of the kiai.
See Figure 201.
Be very careful , however, not to land the
blow, for it is one that can kill.
Having launched the blow, catch his right
wrist with your rigbt hand from above in a
normal grip and continue pulling the arm across
your body. Put your left hand over his left
shoulder and catch his right lapel, as deeply in
as possibl e. Straighten up and push your stomach
forwards against his right elbow. This is a straight
arm lock in whi ch the pressure is applied with
your stomach , and it is caIled 'Haragatame'. At
the same time, of course, you are strangling him
with his right lapel pulled back against his
throat by your left hand. See Figure 202.
This stomach arm lock features in many of
the defences, so practise it well. Your partner
will submi t by tapping.
Return to the formal kneeling posture, as at
the beginning of the movement.
3. Suri-Age (Thrust at the Forehead)
Your partner rises onto his toes, toes dug into
the mat, and tries to strike a blow at your fore-
head with the heel of his hand. His fingers are
together and the blow is what is known in karate
as lhe palm heel strike (teisho). It could alterna-
tively be at the chin or under tbe base of the
nose, and some masters teach each of these
variations. The object is to jerk your head back
and dislocate your neck. Slightly bend your body
backwards so that the blow would pass you,
come up onto your toes and raise your hips. See
Figure 203.
92
Raise your hands. With the palm of your right
hand ward off his blow by catchi ng his wri st and
with your left hand catch his right armpit with
a normal hold, fingers at the back of him, thumb
under the armpit. Kick him in the solar plexus
with the ball of your right foot , accompanied by
the kiai. See Figure 204.
Having delivered tbe kick, bring your right
foot back and widely round behind you. Stretch
out his right arm, bringing him onto his face.
Keep your left knee close to his body and hold
his rigbt shoulder down with your left band.
Once you have control of him, kneel on his right
elbow joint with your left knee. Do this very
carefully in the demonstration, otherwise you
will dislocate the joint before he has time to give
in. See Figure 205.
He submits. Return to the formal kneeling
position as at the beginning of this movement.
4. Yoko Uchi (Blow at the Temple)
This agai n, is one of the atemi blows taken
over by karate. Your partner comes up on his
toes as before, raising his hips, and tries to strike
a blow at your left temple wit h the bottom of
his r igh t fi st. See Figure. 206.
To avoid this, come up on the toes of your
left foot , bring your right foot, knee up, in close
to the outside of hi s right knee, and duck your
head under hi s right armpit. With your right
hand push hi s left shoulder, your own right
shoulder being agai nst his ri ght. With your left
hand push in the left lower region of his back.
See Figure 207.
From this position you can take h.im over onto
his back and have him in the shoulder hold
(Kata Gatame) position as described in Chapter
4, no. 2. See Figure 208.
Now block hi s right arm across his throat by
pushing on the elbow with your left, and with
your right elbow strike him a blow in the solar
plexus, accompanying it with the kiai. See
Figure 209.
Return to the formal kneeling position.
5. Ushiro Dori (Shoulder Seizure from behind)
Your partner ri ses, walks round behind you
and kneels close to your body. He raises his right
knee, comes up on his left toes, and attempts to
encircle your sboulders with his arms. His head
is kept close to the right side of yours to prevent
your hitting him in the face with a sudden back-
wards movement of your own head. See Figure
210.
Come up onto your toes. Seize his left arm
with both yours, drive your right leg through his
behind him, and throw him over your left
shoulder with the shoulder throw by rolling to
your left. See Figure 211.
Hold bim down with your right arm across
his body and with your left fist hit him in the
testicles. But be careful not actually to land the
blow, of course. See Figure 212.
The blow is accompanied, as usual, with the
kiai. If the assailant were a woman, the blow
would be aimed two inches below her navel, at
the hypogastrium, or at one of her breasts.
You both now rise to your feet and your
partner goes to the end of the kata axis where
he has left his weapons. As he kneels down to
pick one up, you kneel down simultaneously
with him. He picks up the dagger and conceals
it inside his jacket. See Figure 213.
6. Tsuki Komi (Thrust with Dagger at Stomach)
He returns and takes the formal kneeling
position facing you, but about two feet away.
The dagger is inside his left jacket so that he
can pull it out with hi s right hand. He draws it
and takes it back for the thrust. See Figure 214.
In making the thrust, he comes up on his left
foot , rai sing the knee and stepping forwards,
and rises on his right toes.
You raise your right knee, come onto your left
toes, and take your body and right foot round
to a position parallel with the axis of the kata
so that the thrust, being directly down the axis
of the kata, would pass just in front of you. The
other movements are exactly as for the stomach
punch (Tsuki Kake), as described in no. 2 of this
series. You catch hi s right wrist with your left
hand and deli ver a blow between the eyes with
your right fist. See Figure 215.
Be very careful not to catch too soon or you
will grab the blade of the dagger, which would
be disastrous. Let it go by you before you catch.
Having struck the blow, accompanied by the
kiai, change hands. Catch his wrist with your
right and continue pulling him forwards off
balance. Take your left hand over hi s left
shoulder and, grasping hi s right lapel as far in
as you can, apply the stomach armlock and
stranglehold combined. See Figure 216.
210 211
212 214 215 213
He will give in by tapping. You then return
to the formal kneeling posture two feet apart
and your opponent replaces the dagger in its
sheath.
It should again be emphasised that all these
dagger thrusts, and the sword movements which
come later, must first be thoroughly practised
with imitation weapons, for the real ones are
highly dangerous.
7. Kiri Komi (Direct Down Cut at Head with
Dagger).
Your part ner unsheathes hi s dagger and raises
it above his head to make a direct down cut at
your head. See Figure 217.
In making the cut, he will come up on his left
toes and this time rai se his right knee. He will
take a step forwards with his right foot as he
st ri kes.
Come up onto your left toes, raise your right
knee and make the usual turn to your right so
that you are parallel to the axis of the kata and
the cut passes down in front of you. Catch his
right wrist with your right hand and pass your
left arm over his right arm, imprisoning it under
your left armpit. Pull him off balance, let your
left hand join your right at his wrist and your
left forearm press down on his elbow joint, so
that you have an armlock on his right elbow
joint. See Fi gure 218.
He will give in and replace the dagger in its
sheath, whereupon you return to the original
position.
8. Yoko Tsuki (Dagger Thrust from Side)
Your partner gets up and comes to your right
side about eight inches away, kneels and un-
sheathes the dagger. He rises on his right toes,
lifts his left knee and takes the dagger back,
ready for the stri ke at your side. See Figure 219.
You have to do an about face turn to avoid
this, raising your right knee and pivoting on
your left. You will then be facing the other way
round and parallel to the axis of his st rike, which
is at right angles to the axis of the kata.
As you complete the turn, catch his right
wri st with your left hand and pull him forwards
into a right-handed punch between the eyes. See
Figure 220.
The punch is accompanied by the kiai. Change
hands, catch his right wrist with your right, and
pass your left hand over his left shoulder so as
216
217
218
219 220
221
to execu te the com bined stomach arm lock and
stranglehold, as in the stomach thrust described
in no. 6 of this series. See Figure 221.
He will submit.
You now stand and keep perfectly st ill, facing
the far end of the kata axis, while your partner
takes the dagger there in its sheath, kneels and
puts it down exactly where he picked it up. He
will then rise and come to face you, standing
about a foot away, ready for the next series.
SET TWO (ATTACKS IN THE STANDING POSITION)
1. Ryole Dori (Both Hands Seizure)
Your partner grabs both your wrists in the
normal hold, thumbs inside, fingers out. See
Figure 222.
Step backwards one pace with your left foot,
spreading your arms to bring him off balance
forwards. Kick him in the testicles with your
right foot, using the ball of the foot and accom-
panying the kick with the kiai. This is what is
known as a snap kick in karate. You raise the
knee, deliver the kick, and bend the knee again
before returning the foot to the mat. See Figure
223.
Free your left hand and, turning to your left ,
grab his left wrist with both your hands. You
will find t hat , as you turn, your right will slide
round in hi s grasp all right , enabling you to do
thi s. Apply your right upper arm to the back
of his left elbow and you will have a straight
armlock on hi s left arm. See Figure 224.
He will tap in submission. You let him go and
you both resume the upright posture, facing
each other.
2. Sode Tori (Hold on Sleeve from Side)
He will now walk round to your left side and
slightl y behjnd you, and catch your left sleeve
at the elbow as though to march you away. He
holds it in hi s right hand. See Figure 225.
Take two steps forwards with each foot in
turn, moving with Tsugi Ashi. Your partner
follows. On the third step forwards with your
right , use the side of your left foot, little toe
edge, to deliver a kick at his right kneecap. This
is a thrusting kick, known in karate as sokuto.
I! can di slocate the knee, so be careful not to
land it. Accompany the kick with the kiai. See
Figure 226.
222 224 225 223
I
~ r
226
KIMENOKATA
Now, instantly bring your left foot back down,
turning about face as you do so, grip his left
lapel with your right hand and his right sleeve
with your left. Then throw him backwards with
o So to Gari , as described in Set One, no. 5, of
the Gokyo. See Figure 227.
3. Tsuki Kake (Straight Right to the Face)
You stand about nine feet apart. He brings
his left foot forwards and takes his right fist
back to strike you in the face. See Figure 228.
As he punches, he wi ll bring his right foot
forwards. Do a half turn to your right, by taking
your right foot back and around so that you are
parallel to the axis of the kata, and hi s punch
will go by you. Deflect it still further with your
right hand, catching the bottom of his right
sleeve and pulling it forwards and downwards.
Your left hand catches the upper part of his
right sleeve. See Figure 229.
As he is being pulled off balance forwards, he
will react by trying to straighten up. As he does
so, let your right arm sl ide up his and step behind
him with your left foot. Your right arm passes
across the front of his throat , bony thumb edge
of the arm against his throat. Your left hand
passes over his left shoulder to catch your own
right wrist and pull it back, and you unbalance
him backwards to apply the naked necklock
(Ushiro Jime) as described in Chapter 6, no. 7.
This time, of course, you are doing it in the
standing position instead of on the ground. See
Figure 230.
He will give in, and indicate this by tapping.
4. Tsuki Age (Uppercut)
You stand about three feet apart. With his
right fi st, your partner tries to give you an
uppercut. Take your head back so that the fist
passes in front of your chin and harmlessly up
past it. See Figure 231.
Catch his right wrist with both hands, left just
below right, and cont inue the upward movement
of hi s arm until it is straight. See Figure 232.
Now turn by taking your right foot back and
around, and bring his right arm under your left
armpit. By bearing down on his elbow joint with
your armpit and lifting his wri st, the little finger
edge of his right arm uppermost you will apply
a straight armlock against his right elbow joint.
See Figure 233.
He will tap in submission.
S. Suri Age (Thrust at the Forehead)
You stand about three feet apart. With the
palm of his right hand, your partner tries to
thrust at your forehead in the same way as in
the kneeling attack, no. 3 of the first series. Step
back with your right foot and sway back slightly
to avoid the blow, at the same time deflecting his
attacking arm upwards with your left. See
Figure 234.
Now, hit him with your right fist in his solar
plexus. See Figure 235. Give the kiai shout.

I
233
236 238 239 237
Turn, by stepping through with your left foot ,
and throw him with the fioating loin throw (Uki
Goshi) applied to h;s left side. See Figure 236.
The tbrow is described on the more normal
right-hand side in Set One, no. 4, of the Gokyo.
6. Yoko Vehi (Blow at Temple)
You stand about four feet apart. Your partner
swings his right fist back with the intention of
hitting you on the side of tbe temple. See Figure
237.
As he strikes he will advance his right foot.
Sink your body, step to your left with your left
foot and let the blow go over your right shoulder.
As you do so, grasp hi s left lapel with your right
hand, thumb inside. See Figure 238.
Step round behind him, pass your left hand
over his left shoulder, catch his right lapel and
apply the sliding collar (Okuri Eri) as described
in Chapter 6, no. 5, except that this time you are
doing it wit h the opposite hands. See Figure 239.
You must bring him off balance backwards as
you apply the stranglehold, and you must move
in very qui ckly indeed.
He will tap in submi ssion.
7. Ke Age (Ki ck at the Testicl es)
You stand about four feet apart and your
partner tries to kick you in the testicles with
his right foot. Turn your body by stepping back
with your right foot, so that you are parallel to
the axis of the kata, and the kick will go past
you. See Figure 240.
Now, catch hi s ankle with both hands and
take it to his right. Step back round to face b;m.
See Figure 241.
Kick him in the testicl es with your right foot ,
just as he was tr ying to do to you. See Figure
242.
Be careful not to land the kick, of course.
8. Vshiro Dori (Shoulder Seizure from Behind)
You stand in the normal position about three
feet apart. Your partner then walks round
behind you. You start to advance, but he comes
up quickly and seizes you round the shoulders.
See Figure 243.
The moment before he actually clasps his
hands in front of you, drop onto your right knee,
catch his right arm with both yours, and insert
your right shoulder under his right armpit. See
Figure 244.
You can now do tbe shoulder throw (Seoi
244 245
246
KlMENOKATA
Nage), as described in Set One, no. 8, of the
Gokyo, with the variation that it is done from a
kneeling position. See Figure 245.
When he has gone over, strike him between
the eyes with the little finger edge of your right
hand, controlling him with your hold on his
right sleeve with your left hand. See Figure 246.
Accompany the blow with the kiai.
Stand perfectly still now, facing down the line
of the kata to your partner's end as he goes
there, kneels down and picks up hi s dagger. He
then comes back to face you, standing about
four feet away.
9. Tsuki Komi (Stomach Thrust with Dagger)
Your partner steps forward with his left foot
and takes the dagger back to thrust it into your
stomach. See Figure 247.
Step back and around with your right foot,
turning so that the thrust goes past you, because
you are parallel to the axis of the kata and the
thrust is directly along the axis. Catch his right
wrist with your left hand, pull forwards , and
with your right hand deliver a punch between
his eyes, accompanying it with the kiai. See
Figure 248.
When making the thrust , he will, of course,
have stepped forwards with his right fool. Now
change hands. Hold hi s wrist with your right and
pass your left over his left shoulder to obtain
the combined stomach arm lock and stranglehold
as in the same attack from the kneeling position
(no. 6 in the last series). See Figure 249.
r
247 248
~ 4 9
10. Kiri Komi (Direct Down Cut at Head with
Dagger)
You are about five feet apart. Your partner
again unsheathes his dagger and, advancing his
right foot, tries to cut directly down at your
head. See Figure 250.
Take your right foot back and turn, so that
being parallel to the axis of the kat a the strike
will pass down in front of your body. Take your
left arm over his right arm, trapping it under
your left armpit, and catch his right wrist with
your right hand. See Figure 251.
Turn a little more and bear down on his elbow
joint with your left armpit as you lift his wrist
with both hands, being sure to get the little
finger edge uppermost. You will have a straight
arm lock on his right elbow joint. See Figure 252.
He will give in, and indicate this by tapping.
Stand perfectly still, facing your partner's end
of the kata. He will go and kneel down to replace
his dagger. Then he will pick up his sword and,
taking the bigh kneeling position, tie the sheath
to his left belt with the string provided for that
purpose. He will rise and come to face you at
a distance of about six feet.
11. Nuki Kake (Sword Unsbeathing)
Holding the top of the sheath with his left
hand, he attempts to draw the sword with his
right. See Figure 253.
As he does so, he advances his rigbt foot. You
advance your right foot to meet his, and with
your right hand, fingers above and thumb below,
you block his right wrist. See Figure 254.
Step behind him with your left foot. Pass
your left band over his left shoulder and catch
his right collat as high up as you can. Now slide
your right arm under bis right armpit and up
behind his neck, taking him off balance back-
wards as you do so. You will be applying the
single wing necklock (Kata Ha Jime) as described
in Cbapta 6, no. 6, but of course you will be
doing it from a standing posi tion and witb the
opposite hands to the demonstration described
in that chapter. See Figure 255.
He will tap in submission.
It should be noted tbat the sword is worn with
the edge upwards.
12. Kiri Oroshi (Direct Down Cut at Head with
Sword)
You are ten feet apart. Your partner un-
sheat hes the sword. He can at this point either
wear the sheath tied to his belt as before, or be
can lay it on the ground at his left side. He takes
a half pace forward with his righ t foot and holds
the sword with both hands, rigbt hand higber
than the left. The point of the sword is directed
upwards to the level of your eyes. See Figure
256.
This position is known as Chudan, the 'on
guard' position in Japanese fencing. He then
raises tbe sword above bis bead, steps forwards
with left foot , then the rigbt, and brings it down
to cut directly down on your head. See Figure
257.
Step back with your right foot , turning your
body so tbat , being parallel to tbe axis of tbe
kata, tbe cut will pass down in front of your
body. Catch his right wrist with your right hand
after the sword passes and pull him forwards off
105
250
254
251
~ 5 5
balance. Pass your left arm over his left shoulder
and catch his right collar high up. You are then
in a position to execute the stomach armlock
combined with the stranglehold that we have
met with before, in the stomach thrust with
dagger (Tsuki Komi) as described in no. 9 of this
series. See Figure 258.
He taps to signal his submission.
This being the end of the kata, he transfers
the sword in its sheath to his right hand and
walks to his end of the axis while you remain
standing motionless at your end. He takes the
high kneeling position facing away from you,
kneels completely, picks up his dagger, also in
his right hand, and holding it on top and the
sword underneath, rises, first to the high kneel-
ing position, then to his feet, and turns to face
you.
Together you go down to the high kneeling
position, then onto your knees, feet extended,
big toes crossed. He lays down the weapons at
258
his right side, exactly as before. You both per-
form the kneeling salutation. See Figure 259.
As you rise together, he picks up his weapons,
and you both turn to the joseki to make the
standing bow.
This particular kata dates from the sixteenth
century and the samurai swords used were made
of steel, single edged, curved and tempered.
Some of the best swords were produced between
AD 900 and 1530, after which there came a
peaceful period in Japanese history, and the art
of sword making began to decline. In the modern
period, from 1868 onwards, sword makers turned
to ordinary blacksmith's work.
The older swords made by craftsmen can be
distingui shed from the modern machine-made
sword in that the temper line, about half an inch
from the cutting edge, is wavy on the hand-made
ones and straight on the machine-made ones.
The handle can be removed, and that part of the
blade which extends inside the handle (the tang)
108
will be found to be engraved with the maker's
marks. Possibly even a document will be enclosed
there, giving the history of the sword.
Seven attacks only were made with the sword,
six of them cuts. These six were directly down at
the head, as in the last item of the kata; diagon-
ally down at the neck on either side; at either
wrist, to chop the hand off; and upwards on the
left side through the ribs to the heart. The only
thrust was to the throat, made with the point.
The dagger was used single-handed in the
same way, but also to stab at the stomach. It was
the dagger that would be used in the ritual
suicide, known as seppukku.
One final point about the katas. They must
be practised in the roles of both Tori and Uke.
Uke's part is just as difficult , if not more so, than
Tori's and it is only by complete co-operation
between the two partners that a perfect
performance can be given.
Acknowledgments
The photographs in this book were taken
by Mr Don Watkins.
The movements are being demonstrated by
Mr Raymond Williams, Mr Paul Jordan
and the author.
Index to Movements
Foot Throws
Ashi Guruma,
De Ashi Barai,
Harai Tsurikomi Ashi,
Hiza Guruma,
Ko Sora Gake,
Ko Sora Gari,
Ko Uehi Gari,
Okuri Ashi Barai,
o Sora Gari,
o SOlO Guruma,
o Uebi Gari,
Sasae Tsurikomi Ashi,
Uehi Mara,
Hand Throws
Sukui Nage,
Sumi Oroshi,
Tai Oroshi,
Uki Oroshi,
Hip Throws
Hane Goshi,
Harai Goshi,
Koshi Guruma,
Holdings
Gyaku Kesa Gatame,
Kami Shiho Gatame,
Kashira Gatame,
Kata Gatame,
Kesa Gatame,
Kuzure Kami Shiho Gatame,
Kuzure Kesa Gatame,
Kuzure Yoko Shiho Gatame,
Mune Gatame,
Tate Shiho Gatame,
Yoko Shiho Gatame,
Armlocks
Ashi Gatame,
Hiza Gatame,
THROWS
Page
30
18
34
18
30
21
24
24
21
40
21
18
27
37
45
27
40
30
27
24
Hip Throws-continued
o Goshi,
o Guruma,
Tsuri Goshi,
Tsurikomi Goshi,
Uki Goshi,
Ushiro Goshi,
Utsuri Goshi,
Sacrifice Throws
Hane Maki Komi,
Soto Maki Komi,
Sumi Gaeshi,
Tani Oroshi.
Tomoe Nage,
Uki Waza,
Ura Nage,
Yoko Gake,
Yoko Gumma,
Yoko Otoshi,
Yoko Wakare,
Shoulder Throws
Kata Guruma,
Seoi Nage,
GROUNDWORK
Page
51
50
52
49
48
51
52
52
51
52
50
55
55
Armlocks-continued
Juji Gatame,
Ude Garami,
Ude Gatame,
Strangleholds
Gyaku Juji Jime,
Hadaka Jime,
Kala Ha Jime,
Kala Juji Jime,
Nami J u ji Ji me,
Okuri Eri Jime,
Sode Guruma,
Ushiro Jime,
Yoko Juji Jime,
Page
21
37
30
24
21
45
37
37
40
34
37
34
40
45
46
40
30
40
34
21
Page
54
54
54
56
59
59
56
56
57
59
59
57
III
Mae Ukemi.
Ushiro Ukemi.
112
BREAKFALLS
Page
15
15
Yoko Ukemi.
Zempo Kaiten Ukemi.
Page
15
15
..